Motif
Divine Beloved
divine_beloved
A motif of the Mystical Quest and Interior Journey family. Every row below is a tagged passage; each rests on a quote in its source text.
1,890 occurrences
70 traditions
sufi (561) · greek (232) · roman (166) · hindu (151) · celtic irish (103) · norse (72) · celtic (59) · sikh (52) · greek roman (50) · germanic (32) · native american plains (32) · persian (30) · egyptian (27) · mesopotamian (26) · georgian (21) · hermetic (18) · japanese (17) · islamic (16) · shinto (15) · biblical (12) · buddhist (12) · mangaian (12) · estonian (11) · korean (11) · native american northwest coast (9) · zuni (9) · ainu (8) · armenian (7) · finnish karelian (7) · celtic welsh (6) · gnostic (6) · native american plateau (6) · samoan (6) · siberian (5) · slavic (5) · buryat mongol (4) · filipino (4) · guiana amerindian (4) · inca (4) · jewish christian (4) · maori (4) · mongol (4) · native american california (4) · vietnamese (4) · comparative (3) · jewish pseudepigrapha (3) · oceanic (3) · romanian (3) · tibetan buddhist (3) · tongan (3) · fjort (2) · kimbundu (2) · native american southeast (2) · zoroastrian (2) · arctic inuit (1) · caucasian (1) · christian apocrypha (1) · ekoi (1) · ethiopian christian (1) · fijian (1) · finnic (1) · hopi (1) · kikuyu (1) · malagasy (1) · melanesian (1) · micronesian (1) · nahua maya inca (1) · native american great lakes (1) · shan (1) · zulu (1)
sufi
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Bird Parliament Bird Parliament; lines 1402-1627 confidence: high
A speaker expects the Wine to be his, but a corrective voice says prayer requires breath from Him, a curtain divides the lover from the hidden Harim, and fulfillment comes from His love.
The passage rejects boasting about spiritual assurance and says prayer and fulfillment depend on divine breath and divine love; Bajazyd similarly says prayers signify nothing unless God responds.
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Bird Parliament Bird Parliament; lines 1402-1627 confidence: high
A speaker expects the Wine to be his, but a corrective voice says prayer requires breath from Him, a curtain divides the lover from the hidden Harim, and fulfillment comes from His love.
The correction speaks of lover, hidden Harim, and divine love; the dying holy spirit rejects becoming an angel and asks to be one with God.
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Bird Parliament Bird Parliament; lines 1835-2072 confidence: high
"no gift this Sovereign receives / Save the mere Soul and Self of him who gives"; the soul should seek no reward except the sovereign lord's presence.
The birds seek the presence of a great sovereign; the Tajidar becomes their guide and announces a difficult road toward that goal.
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Bird Parliament Bird Parliament; lines 311-540 confidence: medium
The Nightingale, drunk with the Rose's ecstasy, says it alone has the Key of Love, and that its song inflames hearts and makes Creation forsake reason.
The Nightingale centers its love on the Rose and asks why it should waste life searching for the farther goal mentioned by the guide.
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Bird Parliament Bird Parliament; lines 542-753 confidence: medium
The singer devoted to a short-lived flower is rebuked; a dervish misreads a beauty's smile and is told she smiled at him, not on him.
The flower, worldly beauty, and Edenic garden are treated as lesser objects that can distract from the maker, gardener, or higher garden.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST.; lines 4884-5080 confidence: medium
The Prophet says he asks no recompense for guidance; God buys and gives the guidance; his wage is the vision of The Friend, and Abu Bakr's forty thousand gold pieces are not adequate wages.
The Prophet refuses worldly payment for guidance and names the vision of The Friend as his wage.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST.; lines 5082-5286 confidence: high
The passage states that the true Beloved is hidden, outward affections should be renounced, love does not depend on form or face, and the remaining form of a dead beloved does not explain love.
The passage says the Beloved is hidden, love does not depend on outward form, and the seeker should look beyond reflected beauty to the source of light.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST. / THE THIRSTY MAN.; lines 5808-6018 confidence: high
The poem states that love makes bitter things sweet, copper gold, dregs like pure wine, pains like balms, thorns roses, fire pleasing light, grief joy, and the dead rise to life; without love, favorable things become barren or hard.
The poem repeatedly states that love turns bitter, painful, dangerous, or low things into sweet, healing, harmless, or exalted forms.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST. / THE THIRSTY MAN.; lines 5808-6018 confidence: high
The shepherd prays to God to show where God is, so that he may become God’s servant, clean God’s shoes, comb God’s hair, sew God’s clothes, and fetch milk.
The shepherd’s anthropomorphic prayer is rebuked by Moses but defended by the heavenly voice, which says different devotional forms are allotted and that the heart is what matters.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST. / THE THIRSTY MAN.; lines 6020-6246 confidence: high
“Because the heart is substance, and words accidents... A burning heart is what I want... Kindle in thy heart the flame of love.”
The passage asks for a burning heart, describes lovers whose hearts and souls burn, distinguishes them from formal ritualists, and treats their faulty speech as better than correct forms.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST. / THE THIRSTY MAN.; lines 6020-6246 confidence: high
“Doing kindness is the game and quarry of good men... Wherever there is a pain there goes the remedy. Wherever there is poverty there goes relief.”
The passage teaches that pain calls remedy, poverty calls relief, thirst brings water, and crying infant needs receive milk, extending this to divine love and mercy.
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Masnavi i Ma'navi: Teachings of Rumi ALPS FORBEARANCE. / PROLOGUE. / THE SUFTS BEAST. / THE THIRSTY MAN.; lines 6479-6502 confidence: medium
"To serve me is to worship and praise God"; "Think not that God is distinct from me."
The speaker says God is not distinct from him and invites perception of the light of God in a mortal; the footnote supplies a related saying about the faithful servant's heart containing the divine.
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Masnavi i Ma'navi: Teachings of Rumi CONTENTS, / TEACHINGS OF RUMI / THE MASHAVI. / THE MASHAVL; lines 935-1009 confidence: high
One whose garment is rent by love is purified from covetousness and sin; Love is hailed as sweet madness, healer of infirmities, physician of pride and self-conceit, Plato, and Galen.
Love is addressed as sweet madness, healer of infirmities, and physician of pride and self-conceit; love-rent clothing marks purification from covetousness and sin.
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Masnavi i Ma'navi: Teachings of Rumi CONTENTS, / TEACHINGS OF RUMI / THE MASHAVI. / THE MASHAVL; lines 935-1009 confidence: high
The speaker says that if the Beloved touched him with his lips, he too would burst into melody like the flute. A note states that self-annihilation leads to eternal life in God, the universal Noumenon by whom all phenomena subsist, and cites Gulshan i Raz.
The speaker imagines that the Beloved’s touch on his lips would make him burst out in melody like the flute.
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Masnavi i Ma'navi: Teachings of Rumi CONTENTS. / CONTENTS, / TEACHINGS OF RUMI / THE MASHAVI.; lines 883-932 confidence: medium
"'Tis the fire of love that inspires the flute"
The passage links flute, lovers, and love, and the footnote explicitly defines love as drawing creatures back to reunion with the Creator.
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Masnavi i Ma'navi: Teachings of Rumi CONTENTS. / CONTENTS. / CONTENTS. / CONTENTS,; lines 813-880 confidence: medium
Story IX is listed as 'The King and his Three Sons'; associated headings mention forms, hidden Truth in phenomenal being, figurative language of the Princes, delayed prayer, inexpressible 'Fruitio Dei,' and the death of the Second Prince.
A heading states that the joys of 'Fruitio Dei' are inexpressible.
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Masnavi i Ma'navi: Teachings of Rumi COUNSELS OF RESERVE. / COUNSELS OF RESERVE. / ALPS FORBEARANCE. / ALPS FORBEARANCE.; lines 4534-4676 confidence: high
The passage asks for God's grace, speaks of severance from God as bitter, says worldly goods and the body damage the soul, and describes the soul as blind and darkened without union with the Beloved.
The passage says the soul without union with the Beloved remains blind and darkened, and that life without God should be esteemed dead.
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Masnavi i Ma'navi: Teachings of Rumi FIRST EDITION / CONTENTS / CONTENTS. / CONTENTS.; lines 258-334 confidence: medium
“Story V. — The Thirsty Man”; “Story VI. — Lugmin and his Master”; “Love endures hardships from the Beloved.”
A topical heading states that love endures hardships from the Beloved.
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Masnavi i Ma'navi: Teachings of Rumi MAHMUD AND AYAZ. / THE MASH AVI. / THE MASH AVI. / MAHMUD AND AYAZ.; lines 16953-17012 confidence: medium
Age and abstinence add infirmity; the devotee has endured toil and done work but has gained no reward from his Friend.
The devotee has not gained reward from the Friend, and the vision of the Friend is far from his course.
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Masnavi i Ma'navi: Teachings of Rumi MOSES AND PHARAOH. / THE M ASM AVI. / THE MASNA VL / THE MASHA VI.; lines 9375-9577 confidence: high
Daquqi is in devotions and prayers, seeks God's favourites, asks to draw near to God's chosen ones, and says he journeyed long to East and West for love of the Moon, absorbed in God.
Daquqi undertakes long journeys seeking God's favourites and longing for the Friend, while the passage frames his travel as a journey of the heart and soul rather than ordinary bodily movement.
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Masnavi i Ma'navi: Teachings of Rumi MOSES. AND PHARAOH. / MOSES AND PHARAOH. / MOSES AND PHARAOH. / MOSES AND PHARAOH.; lines 13914-14069 confidence: high
The king chooses the pious Darvesh's daughter for his son, rebukes objections, and the prince rejects his fair bride for an ugly old woman who bewitched him.
The passage explicitly interprets the wife as the Deity, the old paramour as the world, and the prince's restored love as release from enchantment.
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Masnavi i Ma'navi: Teachings of Rumi TEACHINGS OF RUMI / THE MASHAVI. / THE MASHAVL / PROLOGUE.; lines 1012-1222 confidence: high
The prologue says separation from those who speak one's tongue makes one dumb; the faded rose and withered garden silence the nightingale; the Beloved is all in all, while the lover is a veil, a dead thing, and like a bird without wings when love no longer quickens him.
The passage says the Beloved is all in all and all that lives, and the lover becomes dead or wingless without Love's quickening.
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Masnavi i Ma'navi: Teachings of Rumi TEACHINGS OF RUMI / THE MASHAVI. / THE MASHAVL / PROLOGUE.; lines 1225-1426 confidence: high
The speaker says the secrets of the Friend should be veiled; the interlocutor demands unveiled speech; the speaker warns that direct exposure of the Beloved, like the sun drawing too near, would be destructive and calls for silence on the Sun of Tabriz.
The passage frames the Friend or Beloved as a hidden secret whose direct exposure would be unbearable, using the sun’s destructive nearness as an analogy.
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Masnavi i Ma'navi: Teachings of Rumi TEACHINGS OFRUMI / FIRST EDITION / CONTENTS / CONTENTS.; lines 179-255 confidence: medium
Contents entries include Story VIII, the Harper, applying “Bride” to God, and 'Omar's rebuke to the harper.
The contents include applying the term “Bride” to God and later call the Beloved the cause of earthly beauty.
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Masnavi i Ma'navi: Teachings of Rumi THE ARAB AND HIS WIFE. / THE ARAB AND HIS WIFE. / THE MASHAVL / THE LION WHO HUNTED.; lines 3821-3973 confidence: high
A man knocks; when asked who he is, he answers, “’Tis I,” and is told there is “no admittance” and that only “fire of separation and absence” can cook the raw one.
The man is denied entry when he says 'Tis I,' undergoes separation, and is admitted only when he answers as the beloved, with the explanation that one house has no room for two 'I's.
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Masnavi i Ma'navi: Teachings of Rumi THE GLUTTONOUS SUFL / THE TREE OF LIFE. / THE YOUNG DUCKS. / MOSES AND PHARAOH.; lines 8600-8676 confidence: medium
The speaker says extended questions and answers would let the mystery of love escape; the section heading states that bewilderment from intense love of God ends thinking and argument.
The speaker says prolonged argument would let the mystery of love escape, and the heading states that bewilderment from intense love of God ends thinking and argument.
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Masnavi i Ma'navi: Teachings of Rumi THE HARPER. / THE MASNA VL / THE MASNA VL / THE ARAB AND HIS WIFE.; lines 3306-3546 confidence: medium
The speaker asks the Lord for discernment between false and true signs; discernment comes when sense sees by Allah’s light, and love of God kindles an inward flame that frees one from reliance on signs.
Love of God kindles an inward flame, after which the person no longer needs external signs to be assured of love.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 19858-20047 confidence: high
The princes learn from an old Shaikh the name of the lady depicted in the fort; he warns them of the perils of the journey to China.
The princes are warned about the perilous journey to China, are urged to persevere, and abandon country and parents; the passage compares this to seeking the Spiritual Beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 19858-20047 confidence: high
Zulaikha applies to Yusuf the names of all things, veils his name under other names, and communicates the secret meaning to confidants.
Zulaikha gives many names to Yusuf, and the passage states that her meaning in all utterances is only Yusuf; his name nourishes and heals through love.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 20049-20201 confidence: high
“Zulaikha was empty of self and filled with love of Yusuf” and what flowed from her jar was what it contained.
Zulaikha is described as empty of self and filled with love of Yusuf; naming the beloved becomes the expression of union.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 20049-20201 confidence: medium
“The Friend” is described as day, food, heart, and torment for lovers; the material sun is called a veil over the face of the real day.
The material sun is called a veil over the face of the real day, while “The Friend” is identified as the real day for lovers.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 20049-20201 confidence: high
Suppliants’ wailing rises to heaven; angels ask God to aid a faithful slave who bows before Him and relies only on Him.
God explains that delay in answering prayer draws the suppliant from negligence and keeps him calling upon God.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 20203-20358 confidence: high
The eldest prince falls sick from hope deferred and dies; he does not obtain the King's daughter but obtains union with the King, the real spiritual object of his love.
The prince fails to obtain the King's daughter, explicitly the earthly object of attachment, but obtains union with the King or Spiritual Beloved, the real spiritual object of his love.
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Masnavi i Ma'navi: Teachings of Rumi THE HINDU SLAVE. / THE MASNA VL / TUB MASNA VI. / THE MASNA VL; lines 20360-20507 confidence: medium
The youngest brother, weakest of all, succeeds where his brothers failed and obtains the king’s daughter as bride and the Spiritual Beloved as well.
The youngest and weakest brother succeeds where his brothers failed and obtains both the king’s daughter as bride and the Spiritual Beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE JEWISH KING. / THE JEWISH KING. / THE MASNA VL / ANOTHER JEWISH KING.; lines 2592-2811 confidence: medium
The passage describes God’s jealousy, compares God to a soul and the world to a body, and uses royal analogies of robes, presence-chamber, doorway, hand, foot, face, and perfume.
God is described as supremely jealous, and courtly examples show that a person admitted to nearer royal presence should not turn back to lesser forms of address.
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Masnavi i Ma'navi: Teachings of Rumi THE JEWISH KING. / THE JEWISH KING. / THE MASNA VL / ANOTHER JEWISH KING.; lines 2592-2811 confidence: high
The speaker turns to complaint about the “Fickle Fair One,” says cries and groans are required, calls divine bitters sweet, offers the sad heart as a sacrifice to the Beloved, and uses grief-dust as salve so the eyes may teem with pearls.
The speaker addresses the Beloved/Fair One, says divine bitters are sweet, and calls the sad heart a sacrifice to the Beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE JEWISH KING. / THE JEWISH KING. / THE MASNA VL / ANOTHER JEWISH KING.; lines 2592-2811 confidence: high
The speaker addresses the divine Thou, questions where throne, doorway, “We,” and “I” remain where the Beloved is, says man and woman become one, and says “We” and “Ye” become one Soul and are lost and absorbed in the Beloved; the passage closes by asking whether bodily eye or mind can behold or conceive the divine.
The passage asks where “We” and “I” are where the Beloved is and says “We” and “Ye” become one Soul and are lost and absorbed in the Beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE JEWISH KING. / THE JEWISH KING. / THE MASNA VL / ANOTHER JEWISH KING.; lines 2813-2920 confidence: medium
A supplied note says the vision of God to the pious consists of manifestation and occultation: He shows Himself and again withdraws from sight.
The addressee is called the Beloved and Beauteous One, inflicts wounds through glances, withdraws or forsakes, and is linked with dawn renewal and life-giving light.
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Masnavi i Ma'navi: Teachings of Rumi THE JEWISH KING. / THE MASNA VL / ANOTHER JEWISH KING. / THE HARPER.; lines 2923-2976 confidence: low
A later section is headed as an apology for applying “Bride” to God; it says Mustafa became beside himself at a sweet call, his morning prayer was delayed until noon, and a note identifies the night as his marriage with Safiyya.
The later heading explicitly refers to applying the term “Bride” to God, and the fragment mentions Mustafa overwhelmed by a sweet call in a marriage-night context.
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Masnavi i Ma'navi: Teachings of Rumi THE MASH A VI. / THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ.; lines 15860-16018 confidence: medium
In the union-with-God section, a loved one asks a lover whether he loves her or himself more; he answers that he is entirely absorbed in her and only the name of his own existence remains.
The section is introduced as a description of union with God, and the loved-one/lover dialogue presents total absorption in the beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE MASH AVI. / MAHMUD AND AYAZ. / THE MASNA VL / MAHMUD AND AYAZ.; lines 17062-17285 confidence: medium
The passage contrasts imagined combat with actual sight, compares cowardly ideas to pictures of Rustam, and urges pressing from hearing to seeing until ear and body become like eye, mirror, or gem and ideas guide one to the Beloved like Majnun.
The passage says ideas guide the seeker to the Beloved like Majnun.
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Masnavi i Ma'navi: Teachings of Rumi THE MASH AVI. / MAHMUD AND AYAZ. / THE MASNA VL / MAHMUD AND AYAZ.; lines 17287-17475 confidence: high
Believers view lust and gluttony as only ideas and behold the Beloved's beauty; others are identified with lust and gluttony, and the passage warns against speaking mysteries to them.
The Beloved is the focus of beauty, mystery, and love's attraction beyond senses and spatial directions.
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Masnavi i Ma'navi: Teachings of Rumi THE MASH AVI. / THE MASH A VI. / THE MASNA VL / MAHMUD AND AYAZ.; lines 15741-15857 confidence: medium
The narrator says evildoers suspect saints through their own distorted nature, using crooked-foot and spider-web images, and adds that lover and beloved are one soul.
The narrator says the king's outward testing does not diminish love because lover and beloved are as one soul.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 10451-10639 confidence: high
After ten years away, the servant can no longer endure absence from his lord and home, resolves to return to Bokhara, and rejects warnings of death or imprisonment because love draws him more strongly than prudence.
The servant returns to Bokhara even though warned of death or imprisonment, because love for his lord overrules prudence.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 10451-10639 confidence: high
The narrator says eternal life is gained by utter abandonment of one's own life; when God appears to the ardent lover, the lover is absorbed in Him, like shadows vanishing in sunlight, and God says, 'I am thine, and thou art mine.'
The passage says eternal life is gained by abandonment of one's own life, the lover is absorbed in God, and true lovers vanish like shadows in the sun.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 10451-10639 confidence: medium
A damsel asks her lover which city is most delightful; he answers that it is the city where his love dwells, and says that with the beloved hell would be heaven and prison a rose-garden, while without her flowers would be flames of fire.
The lover says hell would be heaven and prison a rose-garden with the beloved, while pleasant flowers without the beloved become fire.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 10641-10877 confidence: high
The passage states that every lover's seeking is reciprocated by the beloved, that love of God in the heart means God loves the person, and that thirst and water call out for each other.
The passage states that the beloved seeks union with the lover, that love of God is met by God's love, and that thirst and water seek one another.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 10879-11102 confidence: high
The love of Him on high is directed to the soul, and whoever seeks another finds the sought one's soul inclined toward him.
The passage states that the love of Him on high is directed to the soul and that the soul of the one sought inclines to the seeker.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 11509-11667 confidence: medium
The lover blesses the rough patrol because its harshness united him with his love; the passage also says whatever is hateful becomes agreeable if it leads to the beloved.
The lover blesses harshness because it united him with love, and the passage says what is hateful becomes agreeable if it leads to the beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE MASNA VL / THE VL / THE MASNA VL; lines 11509-11667 confidence: high
The hearer is told to look at God, the Beauty and Object of desire, with the eyes of those who love Him, and to borrow from God both eyes and sight.
The hearer is told to look at God through the eyes of those who love Him and to borrow eyes and sight from God; God is represented as the servant's eye, hand, and heart.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VI. / THE THREE FISHES. / MOSES. AND PHARAOH. / MOSES AND PHARAOH.; lines 13312-13411 confidence: high
Moses is discouraged, but a voice from heaven assures him that he is beloved of God because he clings to God through good and evil.
Moses is discouraged but is told by a heavenly voice that he is beloved of God because he clings to God through good and evil.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHA VL / THE GLUTTONOUS SUFL / THE TREE OF LIFE. / THE YOUNG DUCKS.; lines 8247-8370 confidence: medium
The God-intoxicated remain beside themselves until the last trump; true divine wine is contrasted with sour whey; a false lover of God is rejected; lover and beloved will be joined and raised on the last day.
The passage contrasts true God-intoxication and inspired love with false intoxication, and says the lover and beloved will be joined on the last day.
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Masnavi i Ma'navi: Teachings of Rumi THE MASHAVL / PROLOGUE. / THE JEWISH KING. / THE JEWISH KING.; lines 1602-1664 confidence: low
One scroll says to quench the torch without fear, promising many joys; by quenching the light the soul rejoices, and Laila is then as bold as her Majnun.
The final teaching invokes Laila and Majnun after describing the soul's joy when the light is quenched.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / ANOTHER JEWISH KING. / THE HARPER. / THE MASNA VL; lines 2979-3207 confidence: high
The speaker says love and mistress are veiled and hidden, calls the divine addressee “Bride,” and says the Beloved permits speech under the hidden decree.
The passage explicitly describes the beloved as veiled and hidden and permits calling Him “Bride.”
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16358-16507 confidence: high
Shaikh Muhammad of Ghazni is named Sar i Itazi because he used only a vine-leaf to break his fast; he dwells long in the desert and is miraculously preserved from death.
The Shaikh's fasting, desert dwelling, miraculous preservation, divine guidance, and purified heart culminate in knowledge of petitioners' needs before they speak.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16358-16507 confidence: high
Love of God cuts short reasoning, bewilders speech, and closes the lips so that a secret treasure does not escape; the Prophet's companions are then mentioned.
Love of God cuts short reasoning, bewilders speech, and keeps silent so its secret treasure does not escape.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16509-16713 confidence: high
Mahmud asks Ayaz why he continually visits old shoes and garments, comparing the action to Majnun and Laila, a Christian visiting a priest, and a mother calling a dead infant; faith and love make dead things as if living.
Ayaz’s old shoes and garments become objects of repeated devotion, and the passage says love and faith make dead things as if living and allow earthly forms to contain spiritual wine.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16509-16713 confidence: high
The divine addressee is hidden yet revealed by bounties and effects: source and rivers, water and millstone, wind and dust, spring and garden, soul and limbs, reason and tongue, joy and laughter.
The divine addressee is hidden in essence but revealed through effects, as water moves a millstone and unseen wind reveals itself through dust.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16509-16713 confidence: medium
A shepherd addresses God with offers to clean garments, mend shoes, and kiss a robe; his expression is called faulty, but his love and devotion are described as unequalled and heaven-reaching.
The shepherd’s words to God are called faulty, but his love and devotion are said to be unequalled and to reach heaven.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / MAHMUD AND AYAZ. / THE MASH AVI.; lines 16715-16810 confidence: high
The shepherd asks the Lord to come near so he can clean God's garment, mend God's shoes, and kiss the robe hem; the passage says his expression is faulty but his love and devotion are unequalled.
The passage repeatedly frames relation to God through love, especially the shepherd whose love to God boils like a sea and exceeds the effect on hearers.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / PROLOGUE. / THE HINDU SLAVE.; lines 17795-17955 confidence: high
After eating the grain and being caught, the bird recites chapters and wails so that the fowler and trap shake with grief.
Once trapped, the bird cries to the Beloved One, asks for mercy, speaks of longing and sleeplessness, and calls itself a lover.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / PROLOGUE. / THE HINDU SLAVE.; lines 17795-17955 confidence: medium
The bird asks the source of life to take its life, calls itself a lover, says the Beloved has closed all paths, and compares the group to lame deer before a raging lion, with resignation as the remedy.
The bird says all paths are closed, compares itself and companions to lame deer before a raging lion, and states that resignation is the remedy.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / PROLOGUE. / THE HINDU SLAVE.; lines 17957-18129 confidence: high
The spiritual song asks the unseen Thou for a cup, calls the Thou the singer's face and reason, says extreme nearness acts as an obscuring veil, invokes nearness to the neck vein, and says calling in the desert hides the Beloved.
The song addresses an unseen Thou as face, reason, and Beloved, and says extreme nearness acts as an obscuring veil.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / MAHMUD AND AYAZ. / PROLOGUE. / THE HINDU SLAVE.; lines 18599-18767 confidence: high
The passage says the ills of fortune are better than exile from God and neglect of Him, because the former pass and the latter abide; happiness belongs to the one with a wary heart before God.
The passage explicitly contrasts passing worldly troubles with enduring exile from God and says no troubles are as hard as separation from the Beloved.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / THE VL / THE MASNA VL / THE MASNA VL; lines 11670-11847 confidence: medium
The opening poetic address says the addressee thought the speaker was like an unguarded lamb, fawn, or captive; an arrow declares a guardian, and the speaker says their Guardian knows every wind and is not absent.
The speaker is treated as an unguarded lamb or fawn but asserts a vigilant Guardian who protects against rash looks.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / THE VL / THE MASNA VL / THE MASNA VL; lines 11849-12056 confidence: high
The passage urges renouncing kingship like Ibrahim bin Adham to obtain the kingdom of eternity; Ibrahim sleeps on a throne with guards and music, and the music is said to recall God's call, while horn and drum resemble a dread trumpet blast.
Music recalls God's call, the trumpet blast, the melodies of the spheres and Paradise, and the lovers' primal union with God.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / THE VL / THE MASNA VL / THE MASNA VL; lines 12453-12650 confidence: high
“Cleverness comes from Iblis, but love from Adam”; Canaan's swimming is in the ocean and does not save him, while “Love is as the ark appointed for the righteous.”
The listener is instructed to make sacrifice of reason at Mustafa's feet and later to sacrifice reason to love of The Friend.
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Masnavi i Ma'navi: Teachings of Rumi THE MASNA VL / TUB MAS:LAV!. / THE MASH AVI. / THE MASH AVI.; lines 15193-15352 confidence: medium
A lover asks his mistress how else to prove love; she says his services are only branches and that the root is giving up life for the beloved. He gives up life and is linked to eternal fruition and the soul returning to the Lord.
The lover is told that the root of love is giving up life for the beloved; he gives up life and is linked to the soul returning to the Lord.
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Masnavi i Ma'navi: Teachings of Rumi THE SUFTS BEAST. / THE THIRSTY MAN. / THE MASH AVI. / THE MASHA VI.; lines 6631-6828 confidence: high
The passage describes the Beloved, Cup-bearer, and lovers' souls burned by the Beloved's torch; lovers in the sanctuary are moths burned by the Beloved's face.
The passage compares lovers in the sanctuary to moths burned by the torch of the Beloved's face and includes a note glossing the image as annihilation of self in God.
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Masnavi i Ma'navi: Teachings of Rumi THE TREE OF LIFE. / THE YOUNG DUCKS. / MOSES AND PHARAOH. / THE M ASM AVI.; lines 8679-8880 confidence: high
A lover admitted to his mistress's presence reads sonnets instead of embracing her; she says his sighs and invocations waste the moment and show love for his own raptures rather than for her.
The lover's sonnets are rejected because the beloved is present; the surrounding heading and verses apply this to the mystic's need to seek union rather than subjective raptures.
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Masnavi i Ma'navi: Teachings of Rumi THE TREE OF LIFE. / THE YOUNG DUCKS. / MOSES AND PHARAOH. / THE M ASM AVI.; lines 8679-8880 confidence: high
The passage says the Sufi is the 'son of the season,' while the pure one is above season and state, drowned in overwhelming love and light; it invokes Jesus, Abraham, setting stars, water and fire, and the picture versus living mistress.
The passage contrasts the state-bound Sufi with the pure one who is above season and state, drowned in overwhelming love and light associated with God.
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Masnavi i Ma'navi: Teachings of Rumi THE YOUNG DUCKS. / MOSES AND PHARAOH. / THE M ASM AVI. / THE MASNA VL; lines 9288-9372 confidence: high
Daquqi journeys in pious fervor, hoping to see the Friend's splendor in human shape, described through ocean/drop and sun/atom imagery, and reaches the sea-shore late in the evening.
Daquqi travels in pious fervor hoping to see the Friend's splendor in human shape and is characterized as a lover of God.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4030-4135 confidence: medium
At Nishapur, Fariddudin Attar pointed to Jalaluddin, said he would light a great flame in the world, and gave him the Asrarnama or book of secrets.
Attar predicts that Jalaluddin will light a great flame in the world, and Ruknuddin tells Shams to fan Jalaluddin’s glow of divine love to a clear flame.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4030-4135 confidence: medium
After renewed persecution by Jalaluddin’s disciples, Shams-i-Tabriz departed to Syria and remained there for two years.
After Shams’s departure to Syria, the passage says Jalaluddin softened the pain of separation by instituting mystical dances accompanied by the flute.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4030-4135 confidence: high
The passage says Rumi’s lines on pilgrimage to the Kaaba show how Sufi poets endeavor to spiritualize the rites of Islam.
The quoted verses state that the essential Kaaba is the heart, that outward circling is vain if one harms a human heart, and that God seeks the heart rather than material wealth.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4030-4135 confidence: medium
Jalaluddin is powerfully affected by Shams's words, converses with him in lonely desert places, neglects teaching, and sees Shams persecuted by disciples; Shams flees, and Jalaluddin follows him in love and longing and persuades him to return.
Jalaluddin is overcome by love and longing after Shams flees, later softening the pain of separation by instituting mystical dances.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4137-4241 confidence: high
The reed flute says it was torn from its ozier-bed, that its notes move listeners to tears, and that one far from home longs for the day of return.
The reed flute laments being torn from home, and the commentary identifies this with the Sufi's separation from the Godhead and yearning for reabsorption into Supreme Unity; the Masnavi is summarized as the soul's love for God as Origin.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4137-4241 confidence: high
God asks Moses why he drove away God's servant, says Moses was sent for union rather than severance, rejects force, says God sees the sincerely loving heart, and declares that love's religion comprehends every creed and sect.
God tells Moses that his mission was for union rather than severance, condemns force, and says sincere love in the heart is what matters.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4137-4241 confidence: high
The Masnavi's subject is summarized as the soul's love for God as its Origin and longing to return; the following fable is introduced as illustrating the Sufi doctrine that all religions are the same to God, who regards the heart.
The passage introduces the fable as illustrating the Sufi doctrine that all religions are the same to God, and God's speech says love's religion comprehends each creed and sect.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4137-4241 confidence: high
The Masnavi opening asks the listener to hear the reed flute complain of separation after being torn from its ozier-bed; its plaintive notes move people to tears, and it longs for the day of return home.
The reed flute laments separation and longing for home, and the prose states that it pictures the Sufi soul yearning for reabsorption into the Supreme Unity; the Masnavi is described as the soul's love for God as Origin.
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Mystics and Saints of Islam ANECDOTE OF BAYAZID BASTAMI. / CHAPTER XIII / CHAPTER XIV / JALALUDDIN RUMI; lines 4355-4473 confidence: medium
The narrator contrasts Koranic acknowledgment of Christ as Word and Spirit of God with Rumi's portrayal of Christ as still exercising healing influence.
Christ is said to continue exercising healing influences, and the poem says healing comes from him.
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Mystics and Saints of Islam APPENDIX I / MOHAMMEDAN CONVERSIONS / APPENDIX II / APPENDIX III; lines 5638-5700 confidence: high
Rumi verses include: 'I am the sweet-smiling Jesus' and 'I am the sunlight falling from above, / Yet never severed from the Sun I love.'
Rumi's quoted verses identify the speaker with Jesus and unsevered sunlight from the beloved Sun; Hallaj's ecstatic utterance is 'I am the Truth.'
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Mystics and Saints of Islam APPENDIX I / MOHAMMEDAN CONVERSIONS / APPENDIX II / APPENDIX III; lines 5638-5700 confidence: medium
“My Friend (God) is not guilty of injuring me; He gives me to drink what as Master of the feast He drinks Himself.”
Mansur’s dying speech portrays God as Friend and Master of the feast who gives him the same drink the Master drinks.
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Mystics and Saints of Islam CHAPTER I / I.--THE IMPORT OF ISLAMIC MYSTICISM / II.--EARLIER PHASES / III.--THE LOVE OF GOD AND ECSTASY; lines 439-536 confidence: high
Early second-century Islam stressed love to God; Rabia is named as an example, and ecstatic states and visions are linked to intuition, divine illumination, and contemplation of God.
The passage states that early Islamic piety placed great stress on cultivating love to God, with Rabia as an example.
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Mystics and Saints of Islam CHAPTER I / I.--THE IMPORT OF ISLAMIC MYSTICISM / II.--EARLIER PHASES / III.--THE LOVE OF GOD AND ECSTASY; lines 439-536 confidence: high
Early Islam placed stress on cultivating love to God; Rabia is an outstanding female Sufi example; this was connected with ecstatic states, visions, intuition, divine illumination, and contemplation of God.
The passage explicitly stresses cultivation of love to God and names Rabia as an example.
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Mystics and Saints of Islam CHAPTER I / I.--THE IMPORT OF ISLAMIC MYSTICISM / II.--EARLIER PHASES / III.--THE LOVE OF GOD AND ECSTASY; lines 538-636 confidence: high
The third class applies poetic meanings to human-divine relations; the Sufi initiate seeks knowledge of God, meeting Him, union with Him through secret contemplation, removal of the veil, ascetic practices, and overcoming obstacles.
Ghazzali's account says Sufis apply poetic language of union with the Beloved, separation from Him, lament, and longing to relations between humans and God.
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Mystics and Saints of Islam CHAPTER I / I.--THE IMPORT OF ISLAMIC MYSTICISM / II.--EARLIER PHASES / III.--THE LOVE OF GOD AND ECSTASY; lines 538-636 confidence: high
The would-be Sufi initiate aims at knowledge, meeting, and union with God through secret contemplation, removal of the veil, ascetic practices, and overcoming obstacles; poetry about union, separation, and longing can set the heart aflame like a spark on tinder.
The Sufi seeker’s goal includes meeting and union with God, and poetic phrases of union with or separation from the Beloved are said to move the heart.
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Mystics and Saints of Islam CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV; lines 1219-1298 confidence: medium
Ibrahim’s wife and son seek him, the son greets him and affirms his religion and learning, Ibrahim prays for help when prevented from departing, the son dies, and Ibrahim explains the event through a voice asking how two loves can co-exist in one heart.
The reported voice asks how Ibrahim can claim attachment to God while his heart is engaged with another person, and the son’s death follows Ibrahim’s prayer about love for the child separating him from God.
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Mystics and Saints of Islam CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV; lines 1219-1298 confidence: high
Ibrahim's wife and son find him; he questions the son about religion and knowledge, tries to depart, prays for divine help, the son dies, and Ibrahim explains that a Voice challenged him about two loves in one heart.
A Voice challenges Ibrahim's claim of attachment to God while his heart is engaged with another person, and Ibrahim's prayer leads to the son's death.
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Mystics and Saints of Islam CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV; lines 1300-1396 confidence: medium
In a dream, Ibrahim sees Gabriel writing the names of the friends of the Lord; after Ibrahim asks to be counted as a friend of the friends, a Voice orders Gabriel to write Ibrahim's name first.
Gabriel writes the friends of the Lord; a Voice says that one who loves the Lord's friends is the Lord's friend and has Ibrahim's name written first.
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Mystics and Saints of Islam CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV; lines 1300-1396 confidence: high
In a dream Ibrahim sees Gabriel writing names of the friends of the Lord; a voice orders Ibrahim's name written first because he loves God's friends.
Gabriel writes the names of God's friends, and Ibrahim is placed first because he loves God's friends.
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Mystics and Saints of Islam CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV / CHAPTER V; lines 1485-1557 confidence: high
"Much is he beguiled who serves God for fear or hope, for His true service is for mere love."
Fudhayl says true service is for mere love, not fear or hope, and that he serves God because he cannot help doing so for love's sake.
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Mystics and Saints of Islam CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV / CHAPTER V; lines 1485-1557 confidence: medium
Fudhayl's sayings reject acts done or omitted for human esteem and teach that true service of God is for love rather than fear or hope.
Fudhayl teaches that true service is for mere love and says he serves God because he cannot help serving Him for love's sake.
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Mystics and Saints of Islam CHAPTER III / RABIA, THE WOMAN SUFI / CHAPTER IV / CHAPTER V; lines 1485-1557 confidence: medium
When Fudhayl's only son dies young, he appears unusually cheerful and tells Abou Ali that God's good pleasure is therefore his own.
Fudhayl accepts his son's death as God's good pleasure and therefore his own good pleasure.
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Mystics and Saints of Islam CHAPTER IV / CHAPTER V / CHAPTER VI / CHAPTER VII; lines 1849-1945 confidence: high
Zu'n Nun, circling the Kaaba, sees a pale emaciated man who says he loves the Friend, that the Friend comes near and is kind, and that those nearest the Friend are most severely tried.
The emaciated man states that those whom the Friend approaches most nearly are the most severely tried.
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Mystics and Saints of Islam CHAPTER IV / CHAPTER V / CHAPTER VI / CHAPTER VII; lines 1849-1945 confidence: high
While circling the Kaaba, Zu'n Nun sees a pale, emaciated man who affirms love and nearness to the Friend and says those whom the Friend approaches most nearly are most severely tried.
The emaciated man says the Friend approaches him and that those nearest to the Friend are the most severely tried.
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Mystics and Saints of Islam CHAPTER IX / CHAPTER X / CHAPTER XI / CHAPTER XII.; lines 3484-3564 confidence: medium
Attar’s Amazement allegory: a princess’s companions drug a slave, have him carried to the harem, where he awakens among splendor and music, falls into bewildered love, and later returns to his post uncertain whether the experience was dream or reality.
The slave briefly encounters overwhelming beauty, becomes filled with love for the princess, and is left unable to determine the nature of the experience.
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Mystics and Saints of Islam CHAPTER IX / CHAPTER X / CHAPTER XI / CHAPTER XII.; lines 3484-3564 confidence: medium
Attar introduces an allegory of Amazement: companions of a princess drug a slave with narcotic wine and have him carried to the harem, where he wakes amid luxury, perfume, candles, women, and song.
The slave glimpses an overwhelming royal-beauty setting, becomes filled with love for the princess, and afterward remains uncertain about what he saw.
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Mystics and Saints of Islam CHAPTER V / CHAPTER VI / CHAPTER VII / CHAPTER VIII; lines 2040-2134 confidence: medium
Attar's Tazkirat-ul-Aulia account calls Hallaj a martyr in the way of truth, pure inwardly and outwardly, loyal in love, drawn to God's face, a miracle-worker, and versed in mysteries.
Attar describes Hallaj as consumed by love and drawn toward contemplation of God's face, and Hallaj's repeated saying is 'I am the Truth.'
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Mystics and Saints of Islam CHAPTER V / CHAPTER VI / CHAPTER VII / CHAPTER VIII; lines 2040-2134 confidence: medium
Attar's account calls Hallaj a martyr in the way of truth, pure within and without, loyal in love, drawn toward God's face, consumed by love's flames, miraculous, and knowledgeable in mysteries.
Attar describes Hallaj as consumed by love and drawn toward contemplation of God's face, while Hallaj repeatedly says 'I am the Truth.'
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Mystics and Saints of Islam CHAPTER V / CHAPTER VI / CHAPTER VII / CHAPTER VIII; lines 2136-2245 confidence: medium
A dervish asks, “What is love?” Mansur answers, “Thou shalt see”; the narration links this to his death that day, burning the next day, ashes scattered on the third, and to his advice to his son to study truth.
The answer to “What is love?” is followed by death, burning, and scattering of ashes, explicitly glossed as the results of Hallaj’s love to God.
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Mystics and Saints of Islam CHAPTER V / CHAPTER VI / CHAPTER VII / CHAPTER VIII; lines 2136-2245 confidence: high
When his hands and feet are cut off, Hallaj laughs or smiles, says his links to the Divinity cannot be severed, speaks of other feet that traverse both worlds, and says, “The ablutions of love must be made in blood.”
Hallaj reddens his cheeks and arms with blood and states that the ablutions of love must be made in blood.
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Mystics and Saints of Islam CHAPTER V / CHAPTER VI / CHAPTER VII / CHAPTER VIII; lines 2136-2245 confidence: medium
A dervish asks Mansur what love is; Mansur says it will be seen over three days, when he is killed, his body burned, and his ashes scattered to the winds as results of love to God.
Mansur links love of God to his death, burning, and scattered ashes, accepts God's will at the scaffold, and prays for those who torture him because of God.
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Mystics and Saints of Islam CHAPTER VII / CHAPTER VIII / CHAPTER IX / CHAPTER X; lines 2667-2765 confidence: medium
The Lord is beyond description and comparison; Face and Hand represent beauty and bounty; even a cherub would be dazzled by His essence; beauty veils beauty like the sun veiled by excess light; saints who glimpse His beauty remain entranced and return from ecstasy with sadness.
Saints who have given themselves to the Lord may glimpse His beauty, remain entranced forever, and when they return from ecstasy to the perishable world are haunted by regret and sadness.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1018-1106 confidence: high
After seven days and nights of fasting for prayer, Rabia hears her body complain; food is brought but eaten by a cat, her lamp goes out as she seeks water, and a voice tells her that the whole world can be given to her only if love for God is taken from her heart.
The voice says love for God and love of the world cannot coexist, and Rabia says she expelled earthly love and prayed to be absorbed in God's love.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1018-1106 confidence: medium
After seven days and nights of fasting for prayer, Rabia hears her body complain; food is brought but eaten by a cat, her lamp goes out as she seeks water, and a voice tells her that the whole world can be given to her only if love for God is taken from her heart.
The voice offers Rabia the whole world but says that receiving it would require taking divine love from her heart.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1018-1106 confidence: high
After seven days and nights of fasting and prayer, Rabia loses the brought food to a cat, the lamp goes out as she goes for water, and a voice tells her the world and divine love cannot coexist; she says she expelled earthly love and prayed for absorption in God's love.
The passage explicitly frames love of God as incompatible with love of the world and has Rabia pray for absorption in God's love.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1108-1129 confidence: high
Rabia's sayings address God concerning the day of judgment, hell, worldly goods, Paradise, and serving God for His sake alone; one saying asks not to be denied the sight of God's face.
Rabia says she seeks God alone, not worldly goods, Paradise, or avoidance of hell, and asks not to be denied the sight of God's face if she serves for God's sake only.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1108-1129 confidence: high
Rabia asks God to give her worldly goods to God's enemies and what is reserved for her in Paradise to God's friends, 'for it is Thou only Whom I seek.'
Rabia asks for worldly goods to go to others, rejects Paradise as her motive, and says she seeks only God and the sight of God's face.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 1108-1129 confidence: high
Rabia says that if God sends her to hell on the day of judgment, she will reveal a secret that will make hell fly far from her.
Rabia invokes the day of judgment, hell, and Paradise, but rejects fear of hell and hope of Paradise as motives for service.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 921-1016 confidence: high
Rabia is introduced as a holy woman from Basra; she converses with God, invokes fire upon a heart loving God, hears a voice refuse, and speaks at night from the roof about being alone with God.
Rabia speaks of being alone with God as beloved, says she loves the Lord, and tells the Prophet in a dream that love of the Most High fills her heart so fully that no other love or hatred remains.
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Mystics and Saints of Islam III.--THE LOVE OF GOD AND ECSTASY / CHAPTER II / CHAPTER III / RABIA, THE WOMAN SUFI; lines 921-1016 confidence: high
At night on the roof she says, “The lover is now with his beloved, but I rejoice in being alone with Thee.”
Rabia repeatedly frames God as the beloved and says love of the Most High fills her heart completely.
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Mystics and Saints of Islam Mystics and Saints of Islam, Rabia, the Woman Sufi confidence: high
A voice tells Rabia she cannot keep both the world and divine love; Rabia turns from earthly love and prays for absorption in God's love.
Rabia rejects the whole world because divine love is treated as incompatible with worldly attachment.
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Mystics and Saints of Islam PREFACE / CHAPTER I / I.--THE IMPORT OF ISLAMIC MYSTICISM / II.--EARLIER PHASES; lines 349-436 confidence: medium
Hellaj is educated in Junaid's Sunni school, applies veiled doctrines to himself, speaks a fatal word likened to a spark on tinder, is seized and executed, and his death spreads his doctrine; the passage mentions longing for a martyr's crown.
Junaid's school stresses love to God, Ghazzali reports phrases about love and union, and the passage says mystical love to God led people into ecstatic reverie and absorption in God.
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Mystics and Saints of Islam RABIA, THE WOMAN SUFI / CHAPTER IV / CHAPTER V / CHAPTER VI; lines 1656-1756 confidence: high
At the station of Proximity, the Voice tells Bayazid that earthly desire and lack of Annihilation prevent finding God; Bayazid asks mercy for all men and Satan, and the Voice says Satan is made of fire.
Bayazid names God as the object of his desire and his sayings value God's love over paradises and describe servants who would groan if given paradises without Him.
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Mystics and Saints of Islam RABIA, THE WOMAN SUFI / CHAPTER IV / CHAPTER V / CHAPTER VI; lines 1656-1756 confidence: high
Bayazid's sayings include love of God above paradises, reliance on pious acts as spiritually dangerous, signs of the Lord's beloved as liberality like sea, kindness like sun, humility like earth, and wisdom received directly from the Lord.
Bayazid's sayings declare that a grain of the love of God is worth more than many paradises and that some servants would groan if given paradises without Him.
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Mystics and Saints of Islam XV. SHARANI, THE EGYPTIAN 164 / XVI. MULLAH SHAH 174 / APPENDIX I. MOHAMMEDAN CONVERSIONS 192 / PREFACE; lines 119-197 confidence: medium
The preface discusses calling Muhammad a practical mystic, describes his strong religious meditation, reports the saying that he was in love with his Maker, and says his terror of the Lord turned his hair white.
Muhammad is described through the saying that he was 'in love with his Maker,' in the context of religious meditation and mysticism.
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Poems from the Divan of Hafiz FROM THE DIVAN OF HAFIZ / XVIII / XXIII / XXVII; lines 2305-2334 confidence: medium
The speaker says the friend has fled, compares her rising from his breast to smoke above flame, and describes Love’s divine cup filled with the bitter wine of Separation.
The speaker takes Love’s divine cup, receives the wine of Separation, and describes sweet service to Love.
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Poems from the Divan of Hafiz FROM THE DIVAN OF HAFIZ / XVIII / XXIII / XXVII; lines 2305-2334 confidence: medium
The friend has fled, leaving tears and pain; the speaker seizes Love's divine cup, and she pours the bitter wine of Separation into it and flees.
The poem centers on the departure of a female friend whose absence produces tears, pain, separation, and service to Love.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1011-1075 confidence: medium
The speaker suspects that “the Cup-bearer brought him a wine other than that of divine knowledge” and that the mistress is “more than an allegorical figure.”
The passage explicitly discusses wine, Saki, and mistress/beloved imagery as contested between mystical and literal readings.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1011-1075 confidence: medium
The commentator suspects the Cup-bearer’s wine is not only divine knowledge and the mistress is more than allegory.
The passage explicitly contrasts readings of wine, Cup-bearer, revelry, and mistress as spiritual allegory with a more literal human reading.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1077-1154 confidence: high
Bell says a mystical undercurrent in the poems cannot be ignored and quotes verses where heart and soul desire the Beloved and where fate, Paradise, and sacred trees appear.
Heart and soul are fixed on the Beloved, Bell rejects a purely earthly reading, and the Beloved's veiled face is described.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1077-1154 confidence: high
Heart and soul desire the Beloved; Fate, the Garden of Paradise, and sacred trees are weighed, but sacred shade cannot protect against appointed destiny.
The Beloved is desired by heart and soul and has a veiled face; lovers describe beauties they cannot directly see.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1077-1154 confidence: high
Bell says Hafiz mixes wine, love, and Sufi teaching inextricably.
Bell states Hafiz mixes wine, love, and Sufi teaching and glosses the cup of ruby wine as hunger and thirst after wisdom.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1156-1232 confidence: medium
Renan says that in India and Persia 'l'amour divin et l'amour terrestre se croisent' and that these meanings are often difficult to disentangle; he compares some mystical readings to allegories of the Canticle of Canticles.
Renan's quoted view says Indian and Persian literature intertwines divine love and earthly love in ways difficult to disentangle, with Hafiz discussed as a case affected by allegorical interpretation.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1156-1232 confidence: medium
Renan is quoted as saying that in India and Persia a large literature developed where divine love and earthly love cross in a way often difficult to disentangle.
Renan’s quotation describes Indian and Persian literature in which divine love and terrestrial love cross in ways difficult to disentangle.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1156-1232 confidence: medium
Renan states that in many cases mystical meanings attributed to Persian and Hindu erotic poems may be no more real than Song of Songs allegories; he says allegorical explanation of Hafiz is often a product of commentators or admirers, and that later poems of real double meaning arose, such as those of Rumi and Wali.
Renan’s quotation says that some poems came to be made with real double meanings, naming Rumi and Wali as examples.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 1234-1273 confidence: medium
The tavern is glossed as instruction or worship, the tavern-keeper as teacher or priest, wine as divine knowledge, the idol as God, beauty as divine perfection, locks as glory, cheek-down as spirits around the throne, and the black mole as indivisible unity.
The passage interprets beauty as divine perfection and related bodily images as signs of divine glory, spirits around the throne, and indivisible unity.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 500-592 confidence: low
While at Yezd, Hafiz is described as homesick and as asking why he should not return to his own home, beloved street, and city.
Shiraz and the home street are described in affective language as Hafiz’s own beloved and heart’s desire.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 861-920 confidence: high
In religious mysticism, God is described as Creator, Ruler, the Essentially Beautiful, and the True Beloved; love has God as both source and object.
The passage states that God is the Essentially Beautiful and True Beloved, and cites Jami and Hafiz on Pure Being or Imperial Beauty loving itself.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 861-920 confidence: medium
Jami says not to avert the face from an earthly beloved because it may raise one to love of the True; the passage compares this to Diotima's teaching to Socrates about rising toward wonderful, unchanging beauty.
Jami is quoted as saying that an earthly beloved may raise one to love of the True, and the passage compares this with Diotima's upward movement toward beauty.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 861-920 confidence: high
The passage describes God as Creator, Ruler, Essentially Beautiful, and True Beloved; love has God as source and object; Jami and Hafiz are cited on Pure Being, Imperial Beauty, and earthly love leading to the True.
God is described as the Essentially Beautiful and the True Beloved, with love having the divine being as both source and object.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 922-1009 confidence: medium
Sufis are said to strive after union with God; quoted images include the lute, the cup, and Hafiz's line: 'mine eyes are fixed upon the road from whence cometh my Friend.'
Hafiz is quoted as fixing his eyes on the road from which the Friend comes, and the passage later speaks of the fire of love behind a veil.
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Poems from the Divan of Hafiz GERTRUDE LOWTHIAN BELL / LONDON / WILLIAM HEINEMANN / INTRODUCTION; lines 922-1009 confidence: medium
“Though the wind of discord shake the two worlds, mine eyes are fixed upon the road from whence cometh my Friend.”
Hafiz is quoted as fixing his eyes on the road from which his Friend comes, even amid discord shaking the two worlds.
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Poems from the Divan of Hafiz INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII / XXIII; lines 2128-2257 confidence: medium
The lady changes the speaker’s house into heaven and is described as angelic, pure, moon-like, wise, and lovely-eyed.
The lady makes the house heaven-like, reveals Heaven’s mansions, receives an eternal dwelling, and in later stanzas the beloved’s nearness ends separation and grief.
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Poems from the Divan of Hafiz INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII / XXIII; lines 2128-2257 confidence: high
The lady changes the speaker’s house into heaven and is described as angelic, pure, moon-like, wise, and beautiful.
The beloved makes the house heaven, is angelic and pure, reveals heavenly mansions, and comforts or ends the speaker’s sorrow.
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Poems from the Divan of Hafiz INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII / XXIII; lines 2259-2302 confidence: low
Ruknabad’s stream and Mosalla’s breeze summon the speaker back from travel; Love is harsh and sorrowful, while the speaker wants Time’s unfriendly glance turned away from the Lady’s beauty.
Love’s countenance is harsh toward the speaker, while he wants Time’s unfriendly glance turned away from his Lady’s beauty.
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Poems from the Divan of Hafiz INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII / XXIII; lines 2259-2302 confidence: medium
The passage asks where Kaus and Kai have gone, describes the wind scattering dust of Djem’s throne, and recalls Ferhad pining for Shirin as tulips raise scarlet chalices.
Ferhad’s pining for Shirin and the speaker’s concern for the Lady’s beauty present beloved figures as objects of intense devotion.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1276-1415 confidence: medium
The speaker sends the east wind or Lapwing to the Lady in Saba, says Love’s road has no halting-place, and sends greetings, prayers, praise, life as ransom, and songs.
The beloved or Lady is remote, receives wind-borne devotion, is seen in absence, and is linked to God’s image mirrored in the face or glass and to life-and-death power over lovers.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1276-1415 confidence: medium
The speaker sends the east wind or Lapwing to the Lady in Saba, says Love’s road has no halting-place, and sends greetings, prayers, praise, life as ransom, and songs.
The speaker sends the east wind or Lapwing of the day to the Lady in Saba and sends greetings by winds morning and evening.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1276-1415 confidence: medium
A voice urges patience through bitter years, promises heavenly grace, says God the Creator is mirrored in the face or glass, and sends Hafiz a robe of honour and harnessed steed.
A voice promises that the speaker’s eyes shall see God the Creator mirrored in the beloved’s face or glass.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1276-1415 confidence: high
The Tavern-keeper advises dyeing the prayer carpet with red wine; he is likened to one who knows road and hostelry; camel bells beyond the beloved’s gateway call to bind the burden and depart.
The beloved is remote, addressed as Heart of my heart and Lady in Saba, receives messages and songs, and is connected with God’s image mirrored in the face.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1276-1415 confidence: high
The speaker sends life as ransom to bring the beloved peace, sends songs and broken words, asks for the cup, and hears a voice promising heavenly grace, God mirrored in the face, and a robe of honour and harnessed steed.
A voice states that God the Creator is mirrored in the addressee’s face and that God’s image is sent in the glass.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1417-1552 confidence: medium
Opening lyric: grief of absence, tears not vain, wind from the beloved’s village through the garden, rose tearing its robe, and Hafiz hiding love’s agony.
The speaker suffers absence, offers heart and cities for the beloved’s mole, returns in spirit to the beloved’s village, and declares Love’s companionship enough.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1417-1552 confidence: medium
The Heart is afflicted by grief and absence; tears and sighs are not vain; a wind from the beloved’s village passes through garden alleys and a rose tears its robe.
The Heart grieves in absence, the wind comes from the beloved’s village, and the speaker’s spirit later flies back to that village rather than seeking Paradise.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1417-1552 confidence: medium
The speaker has Love and her healing companionship; he asks that his soul not be sent to seek Paradise, because his spirit returns to the beloved’s village; Hafiz has no complaint at Kismet’s door and has a mind like clear water.
The speaker asks not to send his soul to seek Paradise and says that even if heaven and earth are unrolled, his spirit returns to the beloved’s village.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1554-1689 confidence: medium
The cup-bearer is asked to set the glass afire with wine’s light; the minstrel is asked to sing; the goblet reflects the glow of Love’s red cheek.
Wine, goblet, song, and the cup-bearer are repeatedly linked with seeing or seeking Love, the beloved, master, or fairy.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1554-1689 confidence: medium
The cup-bearer is asked to set the glass afire with wine and the minstrel to sing; the beloved's red cheek is reflected in the goblet, and Love is compared with cypress and pine-tree imagery.
The beloved or Love appears in the wine goblet and receives messages through the wind, while wine and song frame the speaker's longing.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1691-1831 confidence: high
The speaker recalls meetings and glances, invokes the absent friend’s bright face, lamp and sun imagery, bows in dust at a stair, says the addressee is everywhere, warns of danger in the beloved’s dimple, and says patience and sleep are gone.
The beloved holds the speaker’s heart, is everywhere, is the object of dreams and beauty, and is asked to return to restore life and sight.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1691-1831 confidence: medium
The nightingale nourishes the red rose with heart’s blood, wind winds thorns around the nightingale’s heart, the wind of Death sweeps hopes away, a departing beloved leaves the harder pilgrimage, and the camel-driver is asked to help lift the fallen load.
The nightingale gives drops of heart’s blood to the red rose and is then wounded by thorns moved by the wind.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1691-1831 confidence: high
The speaker calls for return so strength may enter the wounded heart, the cold dead body may breathe and burn, the eyes may be touched, and gates may open to sight.
The speaker calls for return so a wounded heart gains strength, a cold dead body breathes and burns, and the eyes and gates open to sight.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1691-1831 confidence: medium
"Where shall I go, where from thy presence? thou / Art everywhere."
The beloved is everywhere, holds the speaker's heart, is the sole focus of sight, is heard as a voice producing echoes of desire, and is asked to restore sight and life.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1833-1938 confidence: medium
Sorrow despoils the heart’s kingdom; the addressed lord is asked to return and free the land; the mirror contains only the lord’s reflection.
The heart and soul seek only the Beloved’s presence, while the speaker waits for and addresses an absent figure whose return would free the heart’s land.
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Poems from the Divan of Hafiz LONDON / WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ; lines 1833-1938 confidence: high
“I hold a mirror to mine eyes, / And nought but thy reflection therein lies”
The heart and soul seek only the Beloved’s presence, and the speaker sees only the beloved’s reflection in the mirror.
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Poems from the Divan of Hafiz WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII; lines 1941-2071 confidence: medium
The beloved’s shining eyes enslave rulers; her red lip intoxicates; dawn is her messenger and tears are the speaker’s; people barter peace to gaze when she passes veiled beneath curls.
The beloved’s eyes enslave rulers, her hair binds the speaker, and her land, door, and threshold become objects of desire.
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Poems from the Divan of Hafiz WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII; lines 2073-2125 confidence: medium
“The rose is not fair without the beloved’s face”; spring, wine, path, winds, fields, and cheek are linked.
Rose, spring, fields, pictures, garden, and flowers are said to be fair or pleasing only in relation to the beloved’s face, cheek, image, or side.
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Poems from the Divan of Hafiz WILLIAM HEINEMANN / INTRODUCTION / FROM THE DIVAN OF HAFIZ / XVIII; lines 2073-2125 confidence: medium
Rose, spring, fields, winds, and corn are not fair or merry without the beloved’s face, wine’s laughter, and her tulip-like cheek.
Rose, spring, paths, winds, fields, pictures, garden, flowers, and other beauties are said to be incomplete without the beloved’s face, image, or presence.
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Poems from the Divan of Hafiz XVIII / XXIII / XXVII / XXVIII; lines 2337-2463 confidence: medium
The beloved's stolen glance and love are remembered; her red lips are compared to Jesus' breath with healing grace.
The beloved's lips are healing, the moon serves her, the speaker dreams at her feet, and closeness to the Beloved is remembered as worthy of thanksgiving.
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Poems from the Divan of Hafiz XVIII / XXIII / XXVII / XXVIII; lines 2337-2463 confidence: medium
The beloved’s stolen glance, reproving eyes, red lips like Jesus’ healing breath, and moon-like sleeping form are remembered.
The beloved’s glance, lips, cheek, absence, and vision dominate the speaker’s emotional and devotional language, with her lips compared to healing breath.
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Poems from the Divan of Hafiz XVIII / XXIII / XXVIII / XXXIII; lines 3766-3778 confidence: medium
The note says Persian poetry often describes the beloved’s hair as entangling and entrapping the unfortunate lover.
The passage concerns a beloved whose beauty or hair has power over the lover, in a Sufi/Persian lyric source.
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Poems from the Divan of Hafiz XXIII / XXVII / XXVIII / XXXII; lines 2495-2524 confidence: medium
A patient nightingale rests on a straight cypress branch, addresses the Rose, thanks her blossoming, and asks not to be left lamenting or wounded by thorns.
The nightingale cries to the Rose, sings thanks to her, and asks not to be wounded by her thorns; the broader passage centers longing for a lady whose grace is sufficient welcome.
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Poems from the Divan of Hafiz XXIII / XXVII / XXVIII / XXXII; lines 2495-2524 confidence: medium
The speaker will not mourn banishment; the desired lady's coming brings content. The Zealot seeks Paradise and Huris, while the speaker's heaven is at the tavern gate and in the lady's grace.
The Zealot seeks Paradise and Huris, while the speaker says his heaven lies at the tavern gate and that he needs only the lady's grace.
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Poems from the Divan of Hafiz XXIII / XXVII / XXVIII / XXXII; lines 2495-2524 confidence: medium
Upon a straight cypress-tree branch the patient nightingale rests, cries to the Rose, praises her blossoming, and asks not to lament apart or be wounded by her thorns.
The speaker says his heaven lies at the tavern gate and that he needs no welcome except his lady's grace; the nightingale also addresses the Rose as a beloved figure whose blossoming brings hope.
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Poems from the Divan of Hafiz XXIII / XXVIII / XXXIII / XXXIV; lines 3781-3859 confidence: medium
Hafiz’s imagery is explained: angels stand at the tavern door, man may enter for divine wisdom, a wine-cup is moulded from human clay, and man is interpreted as a vessel for divine love and wisdom.
The commentator says man is the vessel into which divine love and wisdom are poured and connects this with tavern and wine imagery.
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Poems from the Divan of Hafiz XXVII / XXVIII / XXXII / XXXIII; lines 2527-2559 confidence: medium
The speaker questions the wandering winds, says they carry the perfume of the beloved’s curls from dusk to dawn, and describes a dart from the beloved’s bent brows wounding the speaker, whose heart waits to be healed.
The beloved’s curls, brows, lips, and rule affect the speaker; the speaker is wounded, waits for healing, and describes a helpless heart and pilgrim soul.
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Poems from the Divan of Hafiz XXVII / XXVIII / XXXII / XXXIII; lines 2527-2559 confidence: medium
A dart from the beloved’s bent brows has wounded the speaker, whose heart waits helplessly for the beloved to heal its pain.
The speaker is wounded by the beloved’s brows and waits for the beloved to heal his heart’s pain.
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Poems from the Divan of Hafiz XXVIII / XXXII / XXXIII / XXXIV; lines 2562-2634 confidence: medium
The speaker dreams that angels stand outside the tavern door, mold a cup from Adam's clay, and that dwellers in Chastity bring Love's red wine to him.
Angels mold a cup from Adam's clay, and dwellers in Chastity bring Love's red wine to the speaker.
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Poems from the Divan of Hafiz XXVIII / XXXII / XXXIII / XXXIV; lines 2562-2634 confidence: high
Heaven cannot bear the burden of God's love; God seeks a messenger elsewhere, the speaker's name is written in the Book of Fate, and the Huris sing in Paradise over concord between the speaker and his Lord.
Heaven cannot bear the burden of God's love, so God seeks a messenger elsewhere and the speaker's name appears in the Book of Fate.
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Poems from the Divan of Hafiz XXVIII / XXXII / XXXIII / XXXIV; lines 2562-2634 confidence: high
True Love's fire is imaged by a moth desiring radiance and going forth with scorched wings; a retired heart breaks over remembered beloved features.
The passage defines true Love's fire through the moth's desire for radiance and its scorched, drooping wings.
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Poems from the Divan of Hafiz XXVIII / XXXII / XXXIII / XXXIV; lines 2562-2634 confidence: high
Heaven cannot bear the burden of God’s love; God seeks a messenger elsewhere, the speaker’s name is written in the Book of Fate, and Huris rejoice in Paradise over the speaker’s concord with the Lord.
The passage presents God’s love as an overwhelming burden, names the speaker in the Book of Fate, and describes concord between the speaker and the Lord.
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Poems from the Divan of Hafiz XXXII / XXXIII / XXXIV / XXXVI; lines 2637-2669 confidence: low
The speaker addresses the Beloved, asks why the Beloved no longer asks about his life or dwelling, describes the Beloved as mercy over the world, calls himself an offender, and asks that the tear-cut rift and questioning of the past end.
The addressed Beloved is described as a breath of mercy passing over the whole wide world.
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Poems from the Divan of Hafiz XXXII / XXXIII / XXXIV / XXXVI; lines 2637-2669 confidence: medium
The speaker addresses the beloved, asks who told the beloved not to ask about his life or dwelling, calls the beloved the breath of mercy over the world, calls himself the offender, and asks that the past be questioned no more.
Repeated injunctions not to ask or question are tied to Love’s fire, the beloved as mercy, and the inability of books to supply the key to Love’s locked gateway.
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Poems from the Divan of Hafiz XXXIII / XXXIV / XXXVI / XXXVII; lines 2672-2709 confidence: medium
No tainted eye may gaze on the Lady’s face, and only an unsullied heart may reflect her perfect grace.
The Lady’s face and grace are accessible only to an unsullied heart, and the devotee humbles himself beneath her passing feet.
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Poems from the Divan of Hafiz XXXIII / XXXIV / XXXVI / XXXVII; lines 2672-2709 confidence: high
No tainted eye may gaze on the Lady's face; an unsullied heart reflects her grace; her locks are like snakes that wound, and her red lips hold bezoar-like healing power.
The Lady's face cannot be viewed by a tainted eye, and only an unsullied heart may reflect her perfect grace.
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Poems from the Divan of Hafiz XXXIV / XXXVI / XXXVII / XXXVIII; lines 2712-2757 confidence: medium
The speaker says desire will not cease until satisfied, seeks the beloved’s red mouth, and imagines lying dead at her threshold under dust.
The passage centers on a speaker addressing an exalted beloved whose mouth, face, and coming are sought for personal peace and for the comfort of man and woman.
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Poems from the Divan of Hafiz XXXIV / XXXVI / XXXVII / XXXVIII; lines 2712-2757 confidence: medium
“I cease not from desire till my desire / Is satisfied”; the speaker seeks the Beloved’s red mouth or the expiration of his soul.
The poem addresses an exalted Beloved whose lips, face, cheek, and hair become the focus of longing and whose revelation can comfort human distress.
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Poems from the Divan of Hafiz XXXVI / XXXVII / XXXVIII / XXXIX; lines 2760-2889 confidence: medium
The speaker names cypress, tulip, and eglantine, asks the Saki for wine, and presents Spring as a bride rising in beauty.
The Saki, mistress, fair face, and longing for a face are repeatedly connected with wine, sweetness, and movement toward the tavern.
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Poems from the Divan of Hafiz XXXVII / XXXIX / XLIII / THE END; lines 3991-4129 confidence: high
A footnote says many images describe the union of God and man and that Rumi points the same moral in an apologue.
The footnote introduces the apologue as about union of God and man; the lover's assertion of separate self is rejected, while identification with 'thou' is admitted.
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Poems from the Divan of Hafiz XXXVII / XXXIX / XLIII / THE END; lines 3991-4129 confidence: high
The note introduces Rumi’s apologue as illustrating union of God and man: a lover first answers “It is I” and is refused, then answers “It is thou” and is admitted by the Beloved.
Rumi’s apologue is explicitly introduced as an image of the union of God and man; entry is granted only when the lover answers not as “I” but as “thou.”
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Poems from the Divan of Hafiz XXXVII / XXXVIII / XXXIX / XLIII; lines 2892-2916 confidence: medium
“Where are the tidings of union?”; “Forth from the dust I will rise up to welcome thee!”
The speaker asks for union, addresses the beloved as Lord, responds to the voice of love, and calls the addressee the goal of human endeavor and the object of Hafiz's worship.
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Poems from the Divan of Hafiz XXXVII / XXXVIII / XXXIX / XLIII; lines 2892-2916 confidence: medium
“Where are the tidings of union? ... Forth from the dust I will rise up to welcome thee!”
The speaker seeks union, addresses the Lord, responds to the call of love, and calls the addressee the goal of all endeavour and idol of Hafiz’s worship.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 2919-3005 confidence: high
The poem is explained as the poet’s quest for love: he seeks it from the nightingale, learns it comes through humiliation and sorrow, questions the magic garden, and calls on the Cup-bearer for wine of divine knowledge.
The passage explicitly describes the poem as the poet’s quest for love and says love comes through humiliation and sorrow, ending with the Cup-bearer’s wine of divine knowledge.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 2919-3005 confidence: high
The poem is expounded as a quest for love: the poet seeks it from the nightingale, learns it comes through humiliation and sorrow, questions the magic garden, and invokes the Cup-bearer's wine of divine knowledge.
The poem is expounded as a quest for love that fails with earthly devotion and garden breezes and ends by invoking wine of divine knowledge.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3007-3105 confidence: high
The note says Hafiz's glass is commonly explained as his heart reflecting his mistress, but offers a mystical reading in which the mirror reflects God and expresses the doctrine that man and God are one; the poet should hasten to the Sufis.
The note interprets the glass as Hafiz's heart reflecting the mistress and, mystically, as a mirror reflecting God, tied to the doctrine that man and God are one.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3007-3105 confidence: medium
Persian convention describes the mistress's chin dimple as a dangerous well filled with the lover's tears, into which he may fall and drown near her mouth.
The mistress's chin dimple is described as a dangerous well filled with the lover's tears where he may drown.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3007-3105 confidence: medium
Persians describe the beloved’s chin dimple as a dangerous well filled with her lover’s tears, into which he may fall and drown.
The beloved’s dimple is conventionally described as a dangerous well filled with a lover’s tears into which he may fall and drown.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3107-3219 confidence: medium
A mystical reading identifies “Joseph” with “the absolute existence, the real beloved, God” and “Zuleikha” with “us, things possible.”
The reported mystical interpretation identifies Joseph's beauty with absolute existence, the real beloved, and God.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3107-3219 confidence: medium
Timur asks Hafiz why he would exchange Bokhara and Samarkand for the black mole on his mistress’s cheek; Hafiz says such generosity explains his poverty, and Timur gives him hundreds of gold pieces.
The anecdote centers on a song valuing the beloved’s black mole over Bokhara and Samarkand, the empire’s fairest jewels.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3107-3219 confidence: medium
A cited mystical interpretation identifies Joseph as absolute existence, the real beloved, or God, and Zuleikha as possible things or humanity brought out by love.
The cited mystical interpretation identifies Joseph with absolute existence, the real beloved, or God, and casts love as drawing Zuleikha or possible beings out from concealment.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3221-3341 confidence: high
The poem is addressed to Hadji Kawameddin, and a mystical interpretation says the wine in the cup and the heart's goblet reflect God, the true Beloved.
The mystical interpretation identifies God as the true Beloved reflected in the goblet of the heart, using the wine cup as image.
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Poems from the Divan of Hafiz XXXVIII / XXXIX / XLIII / NOTES; lines 3221-3341 confidence: high
The poem to Hadji Kawameddin receives a mystical interpretation: as wine glows like a cheek in the cup, the heart’s goblet reflects God, the true Beloved.
The mystical interpretation identifies God as the true Beloved reflected in the goblet of the heart.
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The Mesnevi CHAPTER I. / CHAPTER II. / CHAPTER III. / CHAPTER IV.; lines 4000-4141 confidence: high
Shemsu-’d-Dīn is given saintly titles, described as traveling for instruction, as superior to other teachers, as seeking the beloved object of the soul, God, and as wearing coarse felt that hides spiritual greatness.
Shemsu-’d-Dīn is explicitly described as seeking the beloved object of the soul, God, and later prays for a saint able to keep him company, receiving an unseen answer that sends him to Jelāl.
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The Mesnevi CHAPTER I. / CHAPTER II. / CHAPTER III. / CHAPTER IV.; lines 4000-4141 confidence: high
Jelāl tells his disciples that Shemsu-’d-Dīn knew every science and was a great alchemist, but renounced all for the study and contemplation of the mysteries of divine love.
Jelāl reports that Shemsu-’d-Dīn was learned in all sciences and alchemy but renounced them for contemplation of the mysteries of divine love.
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The Mesnevi CHAPTER I. / CHAPTER II. / CHAPTER III. / CHAPTER IV.; lines 4000-4141 confidence: high
Shemsu-’d-Dīn of Tabriz is given exalted titles, travels seeking human and spiritual instruction, finds no teacher equal to himself, seeks God as the beloved object of the soul, and wears coarse felt that hides his spiritual greatness.
The passage explicitly identifies God as the beloved object of the soul and concludes with Shems’s devotion to the mysteries of divine love.
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The Mesnevi CHAPTER I. / CHAPTER II. / CHAPTER III. / CHAPTER IV.; lines 4279-4412 confidence: medium
Jelāl sends Sultan Veled to Damascus; he finds Shemsu-’d-Dīn in an inn playing backgammon with a young Firengī saint, brings him back to Qonya, and Jelāl embraces him with renewed devotion.
Jelāl sends Sultan Veled to Damascus to bring Shemsu-’d-Dīn back, and Sultan Veled escorts him back to Qonya while Jelāl receives him with an embrace and increased devotion.
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The Mesnevi CHAPTER I. / CHAPTER II. / CHAPTER III. / CHAPTER IV.; lines 4279-4412 confidence: high
Forty days after Shemsu-’d-Dīn’s disappearance, Jelāl appoints Husāmu-’d-Dīn deputy and sets out to seek Shems in Damascus for the third time; Syrian learned men become disciples, and he later returns to Qonya.
Jelāl goes to Damascus seeking Shemsu-’d-Dīn, does not find him in the flesh, but finds within himself what is described as still greater.
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The Mesnevi FROM THE WORK ENTITLED / THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II.; lines 937-987 confidence: high
The Seyyid recites a final hymn to beloved God, asking God to receive his soul and heart; these are his last words before he yields up his spirit.
The final hymn addresses God as beloved and asks God to receive the Seyyid’s soul and take his heart.
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The Mesnevi FROM THE WORK ENTITLED / THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II.; lines 937-987 confidence: high
“God, my beloved... My soul receive... In Thee alone my heart finds peace; it fire with love divine.”
The final hymn addresses God as beloved and asks God to receive the Seyyid’s soul.
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The Mesnevi IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII. / XIII.; lines 13283-13385 confidence: medium
The formless Form and hidden forms flash in Moses' heart; the mirror of the heart is described as boundless, and the saint's polished heart reflects new-created forms and fresh beauty.
Mystics' hearts are filled with love, and saints are placed in the court of divine love.
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The Mesnevi IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII. / XIII.; lines 13283-13385 confidence: medium
Saints laugh at death, remain inwardly unharmed like a pearl, set rhetorical and legal arts at naught, and are placed in the court of divine love beyond the scenes of eight paradises.
Saints are described as mocking death and dwelling in the court of divine love beyond the scenes of eight paradises.
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The Mesnevi IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII. / XIII.; lines 14189-14300 confidence: high
The speaker prays to the Answerer of prayer for guidance, protection from error, reprieve from judgment, preservation among saints, shelter, and union with God.
The prayer declares severance from God bitter, asks for divine refuge, and says life without God's presence is death.
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The Mesnevi IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII. / XIII.; lines 14302-14405 confidence: high
Death is described as outward loss but inward gain and life; a child in the womb is destined for the world; the speaker longs for the world of doom but says God forbids casting away life; the fruit of death is savoury and the slain are said to live.
Death is repeatedly described as inward life, eternal life, return from severance to union, meeting love, and a blessing to the faithful.
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The Mesnevi IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII. / XIII.; lines 14302-14405 confidence: medium
The speaker calls the fruit of death savoury, says the slain live, asks friends to slay him, and says death is eternal life and will bring him to his love.
The speaker says death will bring him to his love and laments being barred from the beloved interview.
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The Mesnevi JAMES W. REDHOUSE, M.R.A.S., ETC. / CONTENTS. / INTRODUCTION.--PLAINT OF THE REED-FLUTE 1 / CONCLUSION 289; lines 314-412 confidence: high
Jelāl is said to institute a dervish order with Indian mourning dress for Shems and to adopt music, instruments, singing or chanting, and holy dance to encourage devotional love for God; dervish twirling is noted as older and recalled from the Arabian Nights.
Music, singing or chanting, and holy dance are said to draw the “Romans” toward devotional love for God.
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The Mesnevi JAMES W. REDHOUSE, M.R.A.S., ETC. / CONTENTS. / INTRODUCTION.--PLAINT OF THE REED-FLUTE 1 / CONCLUSION 289; lines 314-412 confidence: high
Eflākī’s work is described as containing many anecdotes of miracles by the living or dead and strange events, and as a kind of Acts of the Apostles of the Mevlevī dervish fathers.
The passage describes miracle stories and says saints, loved by the Creator, know secrets of heaven and earth and can suspend or overrule natural laws.
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The Mesnevi JAMES W. REDHOUSE, M.R.A.S., ETC. / CONTENTS. / INTRODUCTION.--PLAINT OF THE REED-FLUTE 1 / CONCLUSION 289; lines 314-412 confidence: medium
Jelal is said to have instituted a dervish order with mourning dress for Shemsu-'d-Din, and to have adopted flute, rebeck, drum, tambourine, singing or chanting, and holy dance to draw people toward devotional love for God, compared to sweetening medicine for a child.
The passage states that Jelal adopted music, singing, and holy dance to tempt the Romans toward devotional love for God through sweet sounds.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5384-5512 confidence: medium
“A flame’s the flute’s wail; not a breath”; “The flame of love” prompts the flute, and love is linked with wine’s ferment.
The flute’s wail is called the flame of love, and love is addressed as physician and cure; the same section connects love with ascent and God’s descent at Sinai.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5384-5512 confidence: medium
The flute's wail is 'a flame' and not breath; love prompts the flute and ferments wine; the absent lover's flute proclaims grief and joy and is called both bane and cure.
Love is described as flame, wine's ferment, bane and cure, physician, and cure of pride and shame.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5635-5748 confidence: medium
“A probe is love; it sounds hearts’ depths” and love “heavenward it mortals draws”; words and the pen fail to describe love fully.
Love is said to draw mortals heavenward, sound the depths of hearts, and exceed words and writing.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5635-5748 confidence: medium
“The sun alone can well explain the sun”; “The soul-sun, God, shines in eternal glow”; mind and image cannot comprehend His essence or presence.
God is called the soul-sun whose glow is eternal, and the passage says ordinary thought and image cannot comprehend His essence or presence.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5635-5748 confidence: medium
The speaker says to tear off the veil, that unadorned beauty is most adorned, warns that the sun brought too near would ruin all, and says not to vaunt the Sun of Tebriz's holy birth.
The speaker urges tearing off the veil and says unveiled beauty would overwhelm lesser displays, while also warning that the sun brought too near would ruin all.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5635-5748 confidence: medium
The healer sees the woman’s trouble, keeps her secret, and traces the sickness to an oppressed mind and suppressed wish rather than bodily disease.
The patient’s physical body is sound, but her soul has a suppressed wish and her heart is sick from love; the wider reflection links love with heavenward movement.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5635-5748 confidence: medium
The speaker urges plain speech and tearing off the veil, imagines unveiled love, warns that the sun brought too near would ruin the world, and names the Sun of Tebrīz.
The speaker calls for the veil to be torn away, imagines the beloved unveiled, and warns that the sun brought too near would ruin the world.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 5997-6113 confidence: high
A blessed soul throws away wealth, health, and life for love of God.
The passage describes love of God, trance of love, contemplation of the Lord, loss of self, and union with God.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 6115-6223 confidence: medium
The upright are faithful, the wicked imagine fraud; a wool lion is named; Musaylama is called liar and deceiver, Muhammed faithful, and God’s love is figured as wine.
Muhammed is described as nourished by the wine of God’s love, while ordinary intoxicating wine is rejected.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 7027-7140 confidence: medium
Truth sheds shining light on human souls, received by heaven’s favourites; illumined souls turn to God, and lack of love means lack of truth’s spangles.
Truth sheds shining light on heaven’s favourites, who turn their souls to God; absence of love leaves one without the light’s adornment.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 8535-8646 confidence: medium
The passage says, “The world’s eye man is” and that the real eye strives to see the “Friend.”
The passage says the real eye strives to see the Friend and that not seeing the Friend would make blindness preferable.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 8648-8751 confidence: high
Saintly ecstasy springs from a glimpse of God; the intimate station is described with bridegroom, God-as-bride, veil, unveiling, and presence-chamber imagery.
The saint’s intimate station is presented through bridegroom, God-as-bride, veil, unveiling, and private presence-chamber imagery.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 8648-8751 confidence: high
‘Umer speaks about God’s attributes and goodness; saintly ecstasy comes from a glimpse of God; the saint is bridegroom and God bride, with unveiling reserved for the intimate.
The passage says the saint’s station is that of an intimate: he is bridegroom, God is bride, and private unveiling is reserved for him.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 8978-9093 confidence: medium
“Just so is the soul. Its tale, just parrot’s tale.” The passage then describes a soul or sufferer crying to the One or Lord, being heard by God, and ascending while the body remains on earth.
The narrator explicitly shifts from the parrot’s tale to the soul’s tale, asking where the One is to whom souls lament and describing the soul with the Lord.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 8978-9093 confidence: medium
The parrot speaks of absent loved ones, slavery, remembrance, oaths, grief, wrath and grace, thorn and rose, and love that makes wrongs seem blissful.
The parrot’s speech dwells on longing, love, wrath and grace, and the sweetness of suffering from the beloved; the narrator then links the parrot’s tale to the soul.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9304-9391 confidence: medium
Love tells the speaker to leave rhymes, says the speaker is the rhyme sought, dismisses words, and describes a secret or mystery unknown to Abraham, Gabriel, and Jesus but spoken by God alone.
Love speaks as a commanding beloved, rejects mere rhyme and words, and refers to a secret mystery spoken by God alone.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9304-9391 confidence: medium
A hunter of birds is himself pounced on; beauty makes prey of soft-hearted men; lover and sweetheart are reciprocal; thirst seeks water and water courts thirst.
The passage says the lover is also a sweetheart, each is one of two, and thirst and water seek each other mutually.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9304-9391 confidence: medium
Love orders the speaker to keep dreaming of love and leave rhymes; rhyme is called bramble around a vineyard, and a secret unknown to Abraham, Gabriel, and Jesus is said to be spoken by God to the speaker alone.
Love commands the speaker to dream of love, leave rhymes, and recognizes the speaker as the rhyme sought; God privately speaks a mystery.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9304-9391 confidence: medium
The speaker reflects on affirmation and denial, person in impersonality, rulers subject to those below them, the bird-hunter becoming prey, lovers also being sweethearts, and thirst and water seeking one another.
The passage states that a lover is also a sweetheart and that thirst seeks water while water courts thirst.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9393-9503 confidence: high
“I cry, for that He loves to hear all my cries. / My moans, lamentations, are what He enjoys.”
God or the divine beloved is associated with the speaker’s cries, pain, treasured love, and the question of “I” and “we” before love.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9393-9503 confidence: high
The speaker returns to plaint and wail, says the divine beloved loves his cries and moans, describes deprivation of the beloved’s look and light, loves anguish that pleases the beloved, and calls lovers’ tears pearls.
God or the divine beloved is addressed as the one whose look, sweetness, warmth, and pleasure are desired, and whose enjoyment of cries gives meaning to lament and pain.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9505-9609 confidence: high
The speaker addresses Beauty or Thou, describing love’s brand of pain, poured blood, suffering floods, new life, and the banished nightingale.
The beloved Thou is addressed in terms of beauty, love’s pain, dawn, light, new life, the soul’s life, and spiritual wine.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9505-9609 confidence: medium
The speaker addresses Beauty or Thou as beloved, source of pain, new life, dawn, light, and spiritual wine.
The addressed Beauty or Thou is described as beloved, source of suffering, giver of new life, cause of dawn and light, and source of spiritual wine.
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The Mesnevi OF QONYA. / PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE.; lines 9720-9766 confidence: medium
Hope led Jacob in quest of his son; sorrow cost him sight and hoped reunion restored light; the listener is urged to be Jacob if not Joseph, Ferhad if not Shirin, and to see Majnun’s ravings if not Layla.
The passage contrasts Joseph with Jacob, Shirin with Ferhad, and Layla with Majnun, presenting seeker or lover figures as models when one is not the beloved.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 10090-10188 confidence: high
The aged minstrel is poor and unable to earn; he prays to God, admits long neglect of commandments, says he is God's household guest, and vows to harp for love of God.
The minstrel offers harp-playing for love of God, calls himself God's household guest, and asks God for the hire of his harpstrings, trusting that God accepts humble outpourings.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 10286-10399 confidence: medium
A heavenly voice calls ‘Umer and commands him to relieve the want of a servant held in high esteem, located in the public burial-ground.
A heavenly voice identifies an esteemed servant in need, directs ‘Umer to bring public treasury money, and describes the payment as harpstrings’ hire.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 10932-11012 confidence: medium
The Prophet is reported to say that woman holds power over sages and aged men, while fools dominate women through harshness; the narrator contrasts humanity’s love and charity with bestial lust and rage and calls fair woman a ray from the sun of Truth.
The passage says fair woman is a ray from the sun of Truth and later has the husband praise the wife’s grace and elixir-like power.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 10932-11012 confidence: medium
The narrator says the Prophet declared woman has power over sages and older men, contrasts humanity with bestial harshness, and calls fair woman a ray from the sun of Truth.
The wife is praised as full of pity, goodness, kindness, and grace, and her influence is compared to an elixir that turns all to gold; the narrator also calls fair woman a ray from the sun of Truth.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11233-11329 confidence: medium
The prophet hears sad sounds, weeps and groans, then addresses the dead.
The prophet weeps for the people, offers gentle counsel from love, and receives divine consolation after their rancor wounds him.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11331-11443 confidence: medium
The man-and-wife incident is called a parable of soul and flesh: wife is flesh, man is soul and wisdom, also emblems of good and evil; they war in earthly existence.
The soul seeks love for God, and when love for God is kindled in the heart it burns fiercely and needs no sign.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11331-11443 confidence: medium
The speaker prays for discernment, calls it an inner gift of God, and says love for God burns in the heart and is its own sign.
Love for God is described as kindled in the heart, burning fiercely, and requiring no external sign because love is its own sign.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11445-11543 confidence: medium
A prophetic saying declares that God is not contained by earth or heaven, but “Believer’s heart can Me contain,” and directs the seeker to look among God's servants.
The passage states that God is not contained by heaven or earth but that the believer's heart can contain Him, and that seekers should look among His servants.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11445-11543 confidence: low
The husband says he has abandoned dispute, puts rule in his wife's hands, and says, “I’m non-existent” and “deaf and blind, through love.”
The husband calls himself non-existent except through the beloved's motion and deaf and blind through love.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11645-11740 confidence: medium
The passage says love for other than the Lord is dead at heart; sincere God’s poverty gains divine pleasure, while sham poverty craves money and should not receive bounty.
The passage says love should be for the Lord, praises sincere God’s poverty, and rejects sham poverty that seeks pelf or loves God only for wealth.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11742-11842 confidence: high
“Without an object none will toil on earth ... Save true and godly lovers” and “Th’ Infinite’s lovers finite’s worshippers are not.”
The passage says lovers of the Infinite are not worshippers of the finite, and that true godly lovers are free from motives.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 11742-11842 confidence: medium
“Th’ Infinite’s lovers finite’s worshippers are not. / Who seek the finite lose th’ Infinite.”
The narrator says lovers of the Infinite do not worship the finite and that seekers of the finite lose the Infinite.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9769-9874 confidence: high
The voice of God within and beyond the veil can give all the gift it gave Mary; those not dead by flesh rise at the Beloved’s voice, called the Bridegroom’s voice from the lips of the servant Ahmed.
The Beloved or Bridegroom’s voice is said to come through Ahmed’s lips, and God says Ahmed’s tongue, eye, ear, contentment, anger, and thoughts are God’s.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9769-9874 confidence: medium
The voice of God within and beyond the veil can give all the gift it gave Mary; those not dead by flesh rise at the Beloved’s voice, called the Bridegroom’s voice from the lips of the servant Ahmed.
Those whose death is not fleshly are said to rise afresh at the Beloved’s voice, which is also called the Bridegroom’s voice.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9769-9874 confidence: high
The voice of God gives the gift once given to Mary; those not dead in the flesh rise at the Beloved's voice, heard from Ahmed's lips.
The Beloved's or Bridegroom's voice is said to come through Ahmed's lips, and God identifies himself with the servant's faculties.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9876-9981 confidence: medium
Ahmed/Mustafà stands lost at a blessed sight, on his wedding-night, oversleeps dawn-worship, and his sainted soul kisses hands.
Ahmed’s wedding-night and the passage’s explicit defense of naming God as bride place love, soul, and God in bridal imagery.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9876-9981 confidence: medium
The passage questions love’s nectar in the self and finite reason; the Soul is called God’s perfection; Ahmed asks Bilāl to lift his voice and release infused breath, which overwhelms Adam and the hosts of heaven.
The passage asks how a lover finds love’s nectar in himself and contrasts finite reason with love’s sway.
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The Mesnevi PREFACE. / IN THE NAME OF GOD, / THE ALL-MERCIFUL, THE VERY-COMPASSIONATE. / VIII.; lines 9876-9981 confidence: medium
Ahmed Mustafà stands lost at one blessed sight on his wedding-night, oversleeps dawn-worship, and the sun shines overhead.
The passage says love and soul are hidden and concealed, and the speaker says God has been named bride after the wedding-night vision of Ahmed Mustafà.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1381-1492 confidence: medium
Shemsu-'d-Din Hindi asks Sa'di for a sublime Persian ode; Sa'di selects Jelal's ode beginning, “Divine love's voice ... We're bound for heaven,” and praises Jelal as a monarch in Rome.
The ode selected by Sa'di begins with divine love's voice sounding and the speakers being bound for heaven, with departure witnessed.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1729-1825 confidence: medium
Jelāl sits in Salāhu-’d-Dīn the Goldbeater’s shop among disciples when an old man enters lamenting and asks help finding his seven-year-old son, missing for several days.
Jelāl tells the old man grieving for a lost son that mankind has lost God and should seek the Lord, then the child is found after the old man follows the advice.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1941-2055 confidence: medium
Jelāl finds the sofa full, sits on the floor, and Husāmu-’d-Dīn joins him; many grandees descend from the sofa, while some proud opponents remain seated.
Formal seating rank is displaced when Jelāl sits on the floor and defines the chief seat as wherever one’s beloved is found.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1941-2055 confidence: low
A variant says Shemsu-’d-Dīn of Tebrīz accompanied Jelāl, sat near him, and was embraced by Jelāl when the beloved was asked about, making Shems notable in Qonya.
In the variant, Jelāl answers the question about his beloved by casting himself on Shems’s breast, after which Shems becomes prominent in Qonya.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1941-2055 confidence: high
The Perwāna hosts an assembly; some legal chiefs worry about Jelāl’s precedence. Jelāl arrives, finds the sofa occupied, sits on the floor, and Husām and many grandees follow him, while some remain seated from pride.
Jelāl disregards the occupied sofa, sits on the floor, and defines the chief seat as wherever the beloved is found.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 1941-2055 confidence: medium
A variant says Shemsu-’d-Dīn of Tebrīz accompanied Jelāl, sat near him on the floor, and was embraced by Jelāl when asked where his beloved was; this made Shems notable in Qonya.
In the variant, Jelāl responds to the question about the beloved by casting himself on Shems’s breast, marking Shems in Qonya thereafter.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 3404-3516 confidence: medium
Jelāl's ode asks the claimed fellow-visitor to describe what he saw of the beloved, mysteries, the source of mankind and souls, and the messages of the beloved.
Jelāl's ode asks about the inspiring loved darling, the beloved's face and form, and the source of mankind and souls.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 3767-3892 confidence: medium
Jelāl tells a woman he will not leave their circle; if another appears, it will be himself; after disembodiment his bodily attachment will become one sole attachment.
Jelāl speaks of becoming disembodied, entering the world of unbodied spirits, unity, and singleness, and later describes God as the beloved whose bitter cup he drinks with delight.
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The Mesnevi THE ACTS OF THE ADEPTS / CHAPTER I. / CHAPTER II. / CHAPTER III.; lines 3767-3892 confidence: high
Jelāl teaches a deathbed prayer asking God not to send an ailment that causes forgetfulness of divine commemoration or health that produces insolence.
Jelāl’s prayer speaks of yearning toward God; near death he calls God his beloved and describes drinking a bitter cup from that hand with delight.
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The Mesnevi The Mesnevi, Book I, Proem, The Reed-Flute confidence: high
The reed-flute tells of absence from its reed-bed and voices the grief and joy of the absent lover.
The reed-flute's song begins from separation and turns absence into the desire for return.
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The Mesnevi XIII. / XVII. / THE END. / FOOTNOTES:; lines 14641-14763 confidence: medium
The reed-flute is called the sacred musical instrument of the Mevlevī dervishes, used in their religious waltz, and loved as “the symbol of a sighing absent lover.”
The reed-flute is a sacred Mevlevī instrument used in religious commemoration and explicitly loved as a symbol of a sighing absent lover; another note states that God is the dear one of mystics.
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The Mesnevi XIII. / XVII. / THE END. / FOOTNOTES:; lines 14641-14763 confidence: medium
“The reed-flute is the sacred musical instrument of the Mevlevī dervishes,” used in their religious waltz; they love it “as the symbol of a sighing absent lover.”
The reed-flute is explicitly described as sacred for Mevlevi dervishes and as a symbol of a sighing absent lover; the same footnote range also identifies God as the dear one of mystics.
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The Mesnevi XIII. / XVII. / THE END. / FOOTNOTES:; lines 15089-15259 confidence: high
The Friend is God, the Gnostic’s darling; the poet’s beloved and love are also glossed as God.
Multiple notes identify the Friend, darling, beloved, and love as God.
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The Mesnevi XIII. / XVII. / THE END. / FOOTNOTES:; lines 15089-15259 confidence: low
The Friend is God, the Gnostic’s darling; the poet’s beloved and love are also glossed as God.
The notes identify Majnun’s madness for Layla and Ferhad as Shirin’s lover; elsewhere in the same note cluster divine love is glossed as God.
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The Mesnevi XIII. / XVII. / THE END. / FOOTNOTES:; lines 15089-15259 confidence: high
God is explained as the sun; created objects as motes; the Friend is God, the Gnostic’s darling.
God is glossed as Friend, darling, bride, and beloved in the Sufi mystical notes.
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The Mystics of Islam CHAPTER I / THE PATH / CHAPTER II / ILLUMINATION AND ECSTASY; lines 1397-1485 confidence: high
The passage distinguishes contemplation from perfect faith and rapturous love; cites Muhammad ibn Wāsiʿ and Shiblī; describes seeing the Agent through the act, seeing only the Agent, and closing eyes to lusts and created things.
Rapturous love is described as absorbing the whole being in the Beloved, and the commentary later names a station of passing-away in the essence.
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The Mystics of Islam CHAPTER I / THE PATH / CHAPTER II / ILLUMINATION AND ECSTASY; lines 1397-1485 confidence: high
The text describes two kinds of contemplation, from perfect faith and rapturous love; Muhammad ibn Wāsiʿ sees God in everything, while Shiblī sees nothing except God.
The text says that rapturous love absorbs the whole being in the Beloved, leading the lover to see nothing else; the commentary also names passing-away in the essence.
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The Mystics of Islam CHAPTER IV / DIVINE LOVE / CHAPTER V / SAINTS AND MIRACLES; lines 3379-3472 confidence: medium
If the love of God in the hearts of His friends were manifest, it would fill the world with flood and fire.
The passage says that if the love of God in the hearts of His friends were manifest, it would fill the world with flood and fire.
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The Mystics of Islam CHAPTER IV / DIVINE LOVE / CHAPTER V / SAINTS AND MIRACLES; lines 3379-3472 confidence: medium
If God’s love in His friends’ hearts were manifest, it would fill the world with “flood and fire.”
The passage says the love of God in the hearts of His friends, if made manifest, would fill the world with flood and fire.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3596-3711 confidence: medium
“I am He whom I love, and He whom I love is I: / We are two spirits dwelling in one body.”
A quoted Hallāj poem says, “I am He whom I love, and He whom I love is I,” describing beloved and lover as two spirits in one body.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3596-3711 confidence: high
“I am He whom I love, and He whom I love is I”; the poem also says they are two spirits dwelling in one body.
Hallāj’s verses identify the speaker with the one he loves and describe two spirits in one body.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3713-3824 confidence: high
Rūmī describes the One Light shining in myriad forms through the universe and the One Essence clothing itself in prophets and saints.
Rūmī's ode describes the robber Beauty or Loved One assuming new garments and appearing across generations as prophets, saints, and objects.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3713-3824 confidence: high
Rūmī is introduced as describing the One Light shining in myriad forms and the One Essence clothing itself in prophets and saints.
Rūmī’s ode describes the One Light or Loved One assuming new garments and appearing as prophets, saints, and images across generations.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3826-3923 confidence: medium
Hujwīrī defines union as concentration on the desired object; Majnūn, called the Orlando Furioso of Islam, concentrates on Laylā so that he sees only her and all created things assume Laylā’s form in his eyes.
Hujwīrī defines union as concentration on the desired object, using Majnūn’s perception of Laylā in all created things and applying the same principle to Sufi enravishment with God.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3826-3923 confidence: medium
Hujwiri defines union as concentration on the desired object, gives Majnun and Layla as an example, and recounts Bayazid answering a visitor by asking whether anyone is present but God.
Union is illustrated by Majnun seeing only Layla, by Bayazid’s claim that only God is present, and by Hallaj’s address to God as the speaker’s all.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3925-4037 confidence: medium
Jalāluddīn’s first quoted poem denies ordinary religious, spatial, elemental, worldly, and ancestral identities and ends with living beyond place in the soul of the Loved One.
The speaker describes transcending soul and body and living in the soul of the Loved One.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 3925-4037 confidence: medium
Jalāluddīn’s first poem negates religious, geographic, elemental, cosmic, paradisal, infernal, and Adamic identities and concludes with the speaker beyond place, transcending soul and body, living in the soul of the Loved One.
The poetic speaker says that, beyond soul and body, he lives anew in the soul of his Loved One.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 4039-4135 confidence: medium
“When my Beloved appears... With His eye, not with mine, / For none sees Him except Himself.”
The divine is addressed as the Beloved, and the passage says Sufi writers render mystical union in terms of love and marriage.
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The Mystics of Islam CHAPTER V / SAINTS AND MIRACLES / CHAPTER VI / THE UNITIVE STATE; lines 4039-4135 confidence: medium
The passage says most advanced Moslem mystics deny distinct personality in ultimate union; the soul is compared to a rain-drop absorbed in the ocean, and Sufi writers use love and marriage language for union.
The passage says Sufi writers express mystical union in terms of love and marriage, and Rūmī’s poem depicts two forms with one soul and the loss of individuality in ecstasy.
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The Mystics of Islam CHAPTER VI / THE UNITIVE STATE / BIBLIOGRAPHY / INDEX; lines 4242-4635 confidence: medium
The index lists divine love with multiple page references.
The index lists Love, divine, and also includes Laylā and Majnūn as named figures with shared page references.
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The Mystics of Islam CHAPTER VI / THE UNITIVE STATE / BIBLIOGRAPHY / INDEX; lines 4242-4635 confidence: medium
Index entries include Love, divine; Laylā; Lubnā; and Majnūn with page references.
The index includes a substantial entry for divine love and also lists Laylā and Majnūn, figures often connected in the book’s index to love imagery.
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The Mystics of Islam CONTENTS / THE MYSTICS OF ISLAM / INTRODUCTION / I. CHRISTIANITY; lines 369-412 confidence: high
Jesus passes by three groups of men: one fears the Fire, one longs for Paradise, and one loves God; Jesus identifies Fire and Paradise as created things and calls the love-of-God group nearest to God.
The Jesus exemplum ranks the group motivated by love of God as nearest to Him, and the hermit sayings identify love of the Creator as the strongest command and source of continual devotion.
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The Mystics of Islam CONTENTS / THE MYSTICS OF ISLAM / INTRODUCTION / I. CHRISTIANITY; lines 369-412 confidence: high
Jesus passes three groups of three men: one group is lean and pale from fear of the Fire, another from longing for Paradise, and a third from love of God; Jesus says the third group is nearest to God.
The Jesus story ranks love of God above fear of the Fire and longing for Paradise, and the hermit sayings also present love as the strongest command and source of devotion.
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The Mystics of Islam FIRST LIST OF VOLUMES. / CONTENTS / THE MYSTICS OF ISLAM / INTRODUCTION; lines 251-337 confidence: high
Love is 'one of God’s gifts' and 'comes of His grace.'
Quoted sayings present love as God's gift and address God privately as 'O my Beloved.'
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The Mystics of Islam FIRST LIST OF VOLUMES. / CONTENTS / THE MYSTICS OF ISLAM / INTRODUCTION; lines 251-337 confidence: high
“Publicly I say, ‘O my God!’ but privately I say, ‘O my Beloved!’”
A quoted prayer says that God is publicly invoked as God but privately invoked as the Beloved.
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The Mystics of Islam II. NEOPLATONISM / IV. BUDDHISM / CHAPTER I / THE PATH; lines 1106-1189 confidence: low
The passage states that this cold morality is not Sufism’s highest morality; the highest springs from love, when self-surrender becomes self-devotion.
The passage concludes that the highest morality springs from love, when self-surrender becomes self-devotion.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 1988-2091 confidence: high
“I was a hidden treasure and I desired to be known; therefore I created the creation in order that I might be known.”
God is described as eternal Beauty desiring love, and Jāmī's poem personifies the Beloved, Beauty, and Love in imagery of unveiling, mirror, flame, and companionship.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 1988-2091 confidence: high
Jāmī’s poem says the Beloved unveiled beauty in the unseen, held a mirror to His own face, was both spectator and spectacle, and sought to display attributes in another mirror and diverse forms.
Jāmī’s poem names the Beloved, describes unveiled beauty, and associates Beauty with Love as the motive and sign of manifestation.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 2093-2191 confidence: medium
When divine attraction becomes manifest, it expels preoccupation with sense and cognition, bodily and spiritual pleasures are surpassed, self-mortification ends, and contemplation delights the soul.
Divine attraction and recollection of God draw the aspirant away from sense and cognition, while the poem says love changes the speaker wholly into love.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 2500-2530 confidence: high
The passage says goodness within evil things is discerned by love and by the knowledge that love alone can give.
The passage says the soul of goodness in evil things is discerned by love and the knowledge that love alone can give.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 2500-2530 confidence: medium
“My servant draws nigh unto Me, and I love him... he hears by Me... sees by Me... speaks by Me... takes by Me.”
The cited Tradition says the servant draws near, God loves him, and the servant hears, sees, speaks, and takes by God.
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The Mystics of Islam ILLUMINATION AND ECSTASY / CHAPTER III / THE GNOSIS / THE REVELATION OF THE SEA; lines 2500-2530 confidence: medium
“My servant draws nigh unto Me, and I love him”; God then says He is the servant's ear, eye, tongue, and hand.
The holy Tradition says that when God loves the servant, the servant hears, sees, speaks, and acts by God; Nicholson links this to love and gnosis.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2533-2628 confidence: high
The chapter opens by saying the soul's aspiration toward God is expressed in terms like secular love poetry; Ibn al-ʿArabī wrote commentary to refute the charge of celebrating a mistress.
The soul's aspiration toward God is expressed in erotic diction, and beloved imagery is explicitly read as referring to divine essence and unity.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2533-2628 confidence: high
The quoted poem says the heart can take every form: pasture, convent, temple, Kaʿba, Tora, Koran; the speaker follows the religion of Love and cites Arab lovers as a pattern.
Named Arab lovers are called a pattern, and their intense love is compared with the mystic's love of the Real.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2533-2628 confidence: high
Mystical poetry of Islam often expresses the soul's aspiration toward God in terms resembling erotic or drinking poetry; Ibn al-ʿArabī wrote commentary to answer charges that some poems celebrated a mistress.
The passage repeatedly states that the language of human beauty and love is used to express the soul's aspiration toward God and the mystic's love of the Real.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2533-2628 confidence: medium
Ibn al-ʿArabī's poem says the heart can take every form, including pasture, convent, idol temple, Kaʿba, Torah tables, and Qurʾan book, and that the speaker follows the religion of Love; named Arab lovers are cited as patterns.
Ibn al-ʿArabī's poem presents the heart as capable of multiple religious forms and the speaker as following the religion of Love.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2630-2743 confidence: high
The passage introduces medieval Sufis as dreaming of and intoxicated with God, names Persian Sufi poets, and quotes Rumi's hymn with moon, flame, flood, soul-swimming, flagon, wine, grape, and cup imagery.
God is described as the Beloved for whose sake possessions and life are given up, and as Truth, Beauty, Lord, and Real in Sufi love poetry and teaching.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2630-2743 confidence: medium
The passage introduces medieval Sufis as dreaming of and intoxicated with God, names Persian Sufi poets, and quotes Rumi's hymn with moon, flame, flood, soul-swimming, flagon, wine, grape, and cup imagery.
The passage describes Sufis as intoxicated with God and quotes wine, grape, flagon, and cup imagery for divine love and the Ideal.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2630-2743 confidence: high
Rumi’s poem: a moon-like figure comes, crowned with eternal flame; from the flagon of divine love the speaker’s soul is swimming and the body’s house of clay is ruined; wine and cup imagery follows.
The passage repeatedly presents God or the Beloved as the object for whom wealth, honor, will, life, and all other valued things are renounced.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2630-2743 confidence: medium
Fudayl kisses his four-year-old child; the child asks how he can love both the child and God with one heart; Fudayl takes this as divine admonition, repents of love for the child, and gives his heart wholly to God.
Fudayl’s child asks how one heart can love both child and God; Fudayl responds by giving his heart wholly to God.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2745-2850 confidence: high
Hujwīrī defines man’s love of God as veneration and magnification in the pious heart, longing for vision of the Beloved, recollection of Him, renunciation of other attachments and sensual passion, and knowledge of God by His perfection.
God is called the Beloved, and the pious lover is restless for vision of Him and cannot rest with anyone except Him.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2745-2850 confidence: high
Love, like gnosis, is said to be a divine gift; those who love God are those whom God loves. Bāyazīd says God’s love preceded his own, and Junayd defines love as substitution of the Beloved’s qualities for the lover’s, glossed as passing-away of the individual self.
Love is called a divine gift; Bāyazīd says God’s love preceded his, and Jalāluddīn’s apologue says the devotee’s call of Allah was God’s own answer and summons.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2745-2850 confidence: high
Hujwiri says man’s love of God appears in the pious believer’s heart as veneration, desire to satisfy the Beloved, longing for vision, recollection of Him, renunciation of all besides, and submission to love’s law.
God is repeatedly called the Beloved, and the pious believer is described as longing for vision of Him and resting only in Him.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2745-2850 confidence: high
Love is described as a divine gift that cannot be attracted or repelled; Bayazid says, “His love preceded mine.”
The passage says love is a divine gift and quotes Bayazid that God’s love preceded his own.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2852-2966 confidence: high
Rābiʿa prays that her worldly share be given to God’s enemies and her next-world share to God’s friends, says God is enough, and rejects worship motivated by fear of Hell or hope of Paradise in favor of God’s own everlasting beauty.
Rābiʿa’s prayers reject worldly allotment, otherworldly allotment, fear of Hell, and hope of Paradise as motives, seeking God for God’s own sake.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2852-2966 confidence: high
The quoted Sufi sayings describe lovers as absorbed in the Beloved and the Sought, divine love as removing all besides God, oneness with God as exceeding acts of worship, fear of separation from the Beloved as surpassing fear of the Fire, and prayer toward the Kaʿba as meaningful only through love of God.
The passage repeatedly names God as Beloved or Sought and describes the lover as absorbed in contemplation and fearing separation more than punishment.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2852-2966 confidence: high
The passage lists Sufi romances and allegories—Laylā and Majnūn, Yūsuf and Zulaykhā, Salāmān and Absāl, the Moth and the Candle, the Nightingale and the Rose—as shadow-pictures of the soul’s longing for reunion with God, and adds images of the soul as dove, reed, falcon, snow, camel, parrot, fish, and pawn.
The passage explicitly says Sufi romances and allegories are shadow-pictures of the soul’s longing to be reunited with God.
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The Mystics of Islam THE GNOSIS / THE REVELATION OF THE SEA / CHAPTER IV / DIVINE LOVE; lines 2852-2966 confidence: high
Rābiʿa prays: whatever share of this world or the next is allotted to her should be given to others; God is enough for her.
God is repeatedly called or treated as the Beloved and is sought not for worldly or heavenly reward but for God's own sake.
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The Persian Mystics: Jalálu'd-dín Rúmí A CRY TO THE BELOVED / REMEMBER GOD AND FORGET SELF / MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER; lines 983-1029 confidence: high
In 'THE BELOVED THE DIVINE CONSOLER,' the speaker addresses the Beloved as comfort and treasure, describes a visitation from the Beloved, turns in worship, fixes a gaze on Eternity by grace, and values glad tidings of the Beloved.
The passage's heading names the Beloved as Divine Consoler, and the speaker addresses this figure as comfort, treasure, King, and source of grace.
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The Persian Mystics: Jalálu'd-dín Rúmí A CRY TO THE BELOVED / REMEMBER GOD AND FORGET SELF / MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER; lines 983-1029 confidence: low
In 'MORTALITY AND IMMORTALITY,' a Bride in the soul and reflection of Her face are associated with renewal; fleshy decay, the dark body as raven, winter, spiritual cheek, and Eternal Spring are contrasted.
A Bride is said to be in the soul, and later Eternal Life is linked with Union.
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The Persian Mystics: Jalálu'd-dín Rúmí A CRY TO THE BELOVED / REMEMBER GOD AND FORGET SELF / MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER; lines 983-1029 confidence: high
The speaker addresses Thou as soul's comfort in sorrow and spirit's treasure, turns in worship toward Thee, fixes an amorous gaze on Eternity by grace, and values one who brings glad tidings of Thee.
The addressed Thou is explicitly framed as beloved and divine consoler and is described as the speaker's soul comfort and spirit treasure.
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The Persian Mystics: Jalálu'd-dín Rúmí ASPIRATION / THE JOURNEY TO THE BELOVED / THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED; lines 1266-1293 confidence: high
The section is headed “THE RETURN OF THE BELOVED”; the Beloved returns at night, and the addressee is told not to eat opium and to close the mouth against food.
The heading names the Return of the Beloved, and the poem states that the Beloved returns at night while instructing the addressee to prepare through abstention.
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The Persian Mystics: Jalálu'd-dín Rúmí ASPIRATION / THE JOURNEY TO THE BELOVED / THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED; lines 1266-1293 confidence: high
The section titled “THE RETURN OF THE BELOVED” says the Beloved returns at night, urges the addressee not to eat opium and to close the mouth against food, and describes a cup-bearer, an assembly, and a circle.
The Beloved is explicitly said to return at night.
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The Persian Mystics: Jalálu'd-dín Rúmí BE LOST IN THE BEAUTY OF THE BELOVED / THE LOVER'S CRY TO THE BELOVED / SORROW TURNED TO JOY / THE GIFTS OF THE BELOVED; lines 1951-2004 confidence: high
The section "The Gifts of the Beloved" describes God buying worthless human wealth, paying Light, accepting frozen lifeless bodies, taking tears and sighs, and giving Kingdom, Divine Fount, and heavenly rank.
Under the heading "The Gifts of the Beloved," God buys worthless wealth and receives bodies, tears, and sighs while giving Light, Kingdom, Divine Fount, and heavenly rank.
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The Persian Mystics: Jalálu'd-dín Rúmí BE LOST IN THE BEAUTY OF THE BELOVED / THE LOVER'S CRY TO THE BELOVED / SORROW TURNED TO JOY / THE GIFTS OF THE BELOVED; lines 1951-2004 confidence: high
God buys the addressees' worthless wealth, gives light to the heart, accepts frozen lifeless bodies, and gives a kingdom beyond what they dream.
The heading names the Beloved, and the passage describes God as the uniquely liberal giver who exchanges human poverty and grief for divine gifts.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 165-253 confidence: medium
Early Sufis are named; Rabi'a explains sickness by saying, "I dwelt upon the joys of Paradise and therefore my Beloved has chastened me."
Rabi'a says her sickness came because she dwelt on the joys of Paradise and her Beloved chastened her.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 165-253 confidence: high
The author says Súfís owed something to Neo-Platonists, uses a stepping-stone across a river image, and distinguishes abstract Neo-Platonist God from personal early Súfí God.
The passage states that the cry for the Beloved was in Súfí hearts and reports Rābi'a calling the chastening figure 'my Beloved.'
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 255-332 confidence: medium
Rābi'a rejects earthly marriage, says she belongs to her Lord, says love to God leaves no time to hate the devil, and is described as independent, ethical, and opposed to ceremonials.
Rābi'a rejects earthly marriage by saying she belongs to her Lord and must not be unfaithful to Him.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 255-332 confidence: high
The passage says Quietism changed to Pantheism, Pantheism kindled belief that Beloved and lover were identical, and Bayázíd and Mansur al-Halláj were prime movers in this development.
The passage states that Beloved and lover were understood as identical and that Bayázíd's ecstasy annihilated self, leaving his soul one with the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 255-332 confidence: high
Rābi'a says she is not her own but her Lord's; when asked if she hated the devil, she replies, "My love to God leaves me no time to hate him."
Rābi'a rejects earthly marriage because she belongs to her Lord, and Sufi doctrine centers on the Beloved as the focus beyond distinct selfhood.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 334-439 confidence: high
Creation is described as the output of the All-Beautiful, and the visible world as a reflection of the Divine and full of the Spirit of God; Jámí’s poem is introduced as illustrating the Beloved and the world of lovers.
Creation is described as a reflection of the All-Beautiful, and Jámí’s poem presents the Beloved’s beauty as shining through earthly forms and veils.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 334-439 confidence: high
Creation is described as the output of the All-Beautiful, and the visible world as a reflection of the Divine and a changing scene full of the Spirit of God.
The visible world is described as a reflection of the Divine, and Jámí’s poem depicts the Beloved’s beauty appearing through earthly forms and veils.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 441-532 confidence: high
Man is described as part of God or a divine emanation; the Sufi recognizes this and desires reunion with the Beloved while needing to worship God rather than forms.
The passage repeatedly names God as the Beloved or True Beloved and describes the Sufi as a lover seeking reunion with Him.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 441-532 confidence: high
Man is described as a fragment of the Whole or divine emanation, and the Sufi's supreme desire is reunion with the Beloved.
The passage repeatedly presents God as the Beloved and describes the desired end as reunion, blending, oneness, and absorption into the Divine.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 534-629 confidence: high
Sufism is described as a religion of Love without creed or dogma, without one exclusive path, and oriented toward the All-Beautiful.
Sufism is defined as a religion of Love, Hegel's epigraph presents love as an expanding center, and Suso's quoted language addresses divine true love joining with the beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 534-629 confidence: medium
Lines from Stephen Phillips's Marpessa describe seekers of a perfect face beyond the world approaching earthly semblances in vision and fleeing shadows.
The quoted lines describe seekers pursuing a perfect face beyond the world through visions of earthly semblances and shadows.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 534-629 confidence: high
Sufism is called 'essentially a religion of Love without a creed or dogma'; the passage adds, 'The ways of God are as the number of the souls of men.'
Sufism is described as a religion of Love, and Hegel’s quoted line makes love the expanding center.
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The Persian Mystics: Jalálu'd-dín Rúmí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 534-629 confidence: high
The passage states that Sufism influenced Indian poetry, that influence worked on both sides, and that Sufis 'probably borrowed' Buddhist ideas about Divine absorption; al-Shibli is quoted: 'Tasawwuf is control of the faculties and observance of the breaths.'
The passage mentions Divine absorption and quotes mystical language of divine sweetness melting into the beloved’s heart and uniting with the soul.
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The Persian Mystics: Jalálu'd-dín Rúmí DESTROY NOT EARTHLY BEAUTY: IT BEAUTIFIES THE SOUL / THE DEVIL MAKES USE OF THE BEAUTY OF WOMEN / SELF-AGGRANDISEMENT AND VAINGLORY NO PART OF LOVE / LOVE NEEDS NO MEDIATOR; lines 1832-1845 confidence: high
One who has attained union with God is said to have no need of intermediaries.
The passage explicitly presents union with God as a state beyond prophets, apostles, outward words, and intercession.
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The Persian Mystics: Jalálu'd-dín Rúmí EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE / THE ETERNAL SPLENDOUR OF THE BELOVED / WOMAN / THE DIVINE UNION; lines 1558-1580 confidence: high
Section heading: "THE DIVINE UNION."
The passage is headed as divine union and frames the encounter as a wedding night with a bride; it also explicitly says the speaker calls Him "Bride."
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The Persian Mystics: Jalálu'd-dín Rúmí EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE / THE ETERNAL SPLENDOUR OF THE BELOVED / WOMAN / THE DIVINE UNION; lines 1558-1580 confidence: high
“On that, his wedding night, in the presence of his bride,” and “Impute it not a fault if I call Him ‘Bride.’”
The beloved is expressed through veiled love, mistress, and Bride imagery, including the statement that Him may be called Bride.
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The Persian Mystics: Jalálu'd-dín Rúmí EDITORIAL NOTE / INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE; lines 709-760 confidence: medium
Daulat Sháh reports a pillar in the Maulavi house and says that when Rúmí was “drowned in the ocean of Love” he held it and turned around it.
Rúmí is described as drowned in the ocean of Love, turning around a pillar, and producing poetry with images of revolving Soul, Cedar, Light, and Morning Stars.
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The Persian Mystics: Jalálu'd-dín Rúmí HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION; lines 2149-2215 confidence: high
Severance from Thee is bitter; without Thy shelter there is perplexity; worldly goods rob heavenly goods; the body rends the soul's garment; reliance on Thee is necessary for life.
The opening stanza describes severance from Thee as bitter and life without divine shelter or reliance as impossible.
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The Persian Mystics: Jalálu'd-dín Rúmí HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION; lines 2149-2215 confidence: medium
Love of God kindles a flame in the inward person; he burns, is freed from effects, needs no signs of Love, and Love casts its own Light up to heaven.
Love of God kindles a flame in the inward person, who burns and is freed from effects; later the flame of Love burns up thoughts and expressions.
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The Persian Mystics: Jalálu'd-dín Rúmí HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION; lines 2149-2215 confidence: high
The Prophet reports God's declaration that He is not contained above, below, earth, sky, or highest heaven, yet is contained in the believer's heart; seekers should search in such hearts.
God is declared not contained in earth, sky, or highest heaven, yet contained in the believer's heart; seekers are told to search there.
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The Persian Mystics: Jalálu'd-dín Rúmí HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION; lines 2149-2215 confidence: high
Severance from God is bitter; without divine shelter there is perplexity; worldly goods rob heavenly goods, and the body rends the soul's garment.
The passage addresses God as the one from whom severance is bitter and on whom the speakers rely, and later speaks of love of God.
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The Persian Mystics: Jalálu'd-dín Rúmí HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED / THE LOVER'S CRY TO THE BELOVED; lines 1934-1948 confidence: high
THE LOVER'S CRY TO THE BELOVED
The speaker is framed as a lover crying to the Beloved, describes longing for the Beloved, and addresses the Beloved as the Source of Life.
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The Persian Mystics: Jalálu'd-dín Rúmí HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED / THE LOVER'S CRY TO THE BELOVED; lines 1934-1948 confidence: high
"O Beloved One, come and stroke my head in mercy!"; the speaker says the Beloved's hand on his head gives rest and signifies providence.
The passage is framed as a lover's cry to the Beloved and repeatedly addresses the Beloved as the object of longing and source of relief.
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The Persian Mystics: Jalálu'd-dín Rúmí I. LIFE / II. SHAMSI TABRIZ / A CRY TO THE BELOVED / REMEMBER GOD AND FORGET SELF; lines 952-980 confidence: medium
"The Prince of the Fair goes proudly forth to the chase / at morning"; "hearts fall a prey to the arrow of His glance"
The Prince of the Fair is described through beauty, a hunting image, the arrow of His glance, messages from His eye, and intoxication by His Message.
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The Persian Mystics: Jalálu'd-dín Rúmí I. LIFE / II. SHAMSI TABRIZ / A CRY TO THE BELOVED / REMEMBER GOD AND FORGET SELF; lines 952-980 confidence: medium
The “Prince of the Fair” goes to the morning chase; the speaker wishes hearts to fall prey to “the arrow of His glance.”
The Prince of the Fair is portrayed as a beloved figure whose glance is an arrow that captures hearts and whose eye sends intoxicating messages to the speaker.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / EDITORIAL NOTE / INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE; lines 632-706 confidence: high
"When Love loves Love for its own sake, when the self is dead, we shall meet Him"; the Beloved is called Perfection, and losing oneself in God is linked to finding Him.
The passage says that when the self is dead, 'we' meet Him and find the Beloved to be Perfection, and later describes earthly love as God finding Himself in the person and the person in Him.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / EDITORIAL NOTE / INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE; lines 632-706 confidence: high
The passage argues that love is not merely individual, that human affinities are momentary findings of God in creatures, and that seekers follow an Invisible Figure from land to land, heart to heart, and from Death into Life until self-death permits meeting Him.
Earthly love is interpreted as finding God in creatures, following the Invisible Figure, and finally finding the Beloved to be Perfection.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 763-842 confidence: high
The narrator says Sufi poetry is lacking in creed or dogma and that Jalál's songs contain a wealth of the wonder of Divine Love.
The narrator says Sufi poetry lacks creed or dogma and that Jalál's songs contain the wonder of Divine Love.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 763-842 confidence: medium
Shamsi Tabrīz is introduced as Rúmí's intimate friend and actual person; he is described as mysterious, influential, and as discussing profound mysteries with Rúmí in solitary places.
The passage presents Shams as Rúmí's intimate, powerful companion, associated with profound mysteries and praised in elevated Sufi poetry as sun, beauty, and glory.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 763-842 confidence: high
The narrator says Sufi poetry is lacking in creed or dogma and that Rúmí's songs contain the wonder of Divine Love.
The passage states that Sufi poetry is lacking in creed or dogma and that Rúmí's songs contain the wonder of Divine Love.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 845-933 confidence: high
Jalál's poetry is described as heavenly music and dance leading beyond the stars into the Presence of the Beloved, describing Beauty, Eternal Union, tears as rain-clouds, friendship in Paradise, and the Rose-Garden of Union.
The passage repeatedly names the Beloved as the focus of Presence, Beauty, longing, and union, and the poem invokes a transcendent Face whose desire animates atoms.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 845-933 confidence: high
The passage describes Jalál's poetry as heavenly music and dance carrying the audience beyond the stars into the Presence of the Beloved, whose Beauty and Eternal Union he describes.
The passage explicitly identifies the Masnavi's key-note as the soul's longing to be united with the Beloved and repeatedly describes the Beloved, Eternal Union, and the Rose-Garden of Union.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 845-933 confidence: high
The passage compares the Masnavi's natural imagery with the Psalms and says scent, form, colour, hills, roses, and forests are the Mirror of the Beloved; earthly loves are a journey to the unfading Rose-Garden.
The passage says scent, form, colour, hills, roses, and forests are the Mirror of the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí INTRODUCTION / V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ; lines 845-933 confidence: medium
The Masnavi is described as full of mysteries; Jalál says great Love is silent, and the Prologue's key-note is the soul's longing to be united with the Beloved; Sufi poets use human love as analogy.
The passage says Jalál and other Sufi poets use love between man and woman as an analogy for the soul's longing to be united with the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí LIFE IN DEATH / THE WHOLE AND THE PART / THE DIVINE FRIEND / ASPIRATION; lines 1203-1244 confidence: high
The speaker says they cherish the soul because it has a perfume of “Thee,” and that every drop of blood says it is one colour with the addressee’s love and partner of the addressee’s affection.
The passage addresses the Beloved, associates the soul with the Beloved’s perfume, and says the heart is desolate without the Beloved’s presence.
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The Persian Mystics: Jalálu'd-dín Rúmí LIFE IN DEATH / THE WHOLE AND THE PART / THE DIVINE FRIEND / ASPIRATION; lines 1203-1244 confidence: high
The speaker urges the soul to hasten from the world of severance to Union, give up earth, fly heavenward, and escape the entrapping earthly frame.
The speaker contrasts severance with Union, addresses a Beloved, and describes desolation without the Beloved’s presence.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED; lines 1887-1931 confidence: high
Egyptian women sacrifice reason in Joseph's love; the Cup-bearer of Life bears away reason; Joseph's beauty is an offshoot of God's beauty.
God's beauty is presented as greater than Joseph's beauty, and the Beloved is the destination toward which ideas guide the seeker.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED; lines 1887-1931 confidence: high
Under 'Be Lost in the Beauty of the Beloved,' Egyptian women sacrifice reason in Joseph's love; the Cup-bearer of Life takes away their reason; they are filled with endless wisdom; Joseph's beauty is an offshoot of God's beauty; the listener is urged to be lost in God's beauty.
The listener is explicitly urged to be lost in God's beauty, after the example of women overwhelmed by Joseph's beauty.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED; lines 1887-1931 confidence: high
Under 'Be Lost in the Beauty of the Beloved,' Egyptian women sacrifice reason in Joseph's love; the Cup-bearer of Life takes away their reason; they are filled with endless wisdom; Joseph's beauty is an offshoot of God's beauty; the listener is urged to be lost in God's beauty.
Joseph's beauty is described as an offshoot of God's beauty.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED; lines 1887-1931 confidence: high
Under 'What Ear Has Told You Falsely,' eye corrects ear, ear becomes eye-like, the body becomes a mirror and gem-like eye, hearing forms ideas, and ideas guide the listener to the Beloved like Majnun.
Ideas formed through hearing are said to guide the listener to the Beloved, like Majnun.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED / THE WINE EVERLASTING / BE LOST IN THE BEAUTY OF THE BELOVED; lines 1887-1931 confidence: high
The passage asks whether a man of reason abandons reason because a child does not see it, and whether the moon of Love is eclipsed because the rational person does not see Love.
The analogy contrasts a child's inability to see reason and a rational person's inability to see Love, concluding that Love is not thereby eclipsed.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM / THE RELIGION OF LOVE / SPIRIT GREATER THAN FORM / WHERE LOVE IS; lines 1681-1694 confidence: medium
"The city wherein my love dwells"; wherever the queen alights, even the eye of a needle is a wide plain.
The lover says that the beloved's dwelling or presence makes any place delightful: a needle's eye becomes a wide plain, a well becomes Paradise, hell becomes heaven, and prison becomes a rose-garden.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM / THE RELIGION OF LOVE / SPIRIT GREATER THAN FORM / WHERE LOVE IS; lines 1681-1694 confidence: high
"The city wherein my love dwells"; even a nook where the queen alights, though like "the eye of a needle," is "a wide plain."
The lover repeatedly states that the beloved's presence makes any place, even hell or prison, heavenly and delightful, while her absence makes flowers fiery.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE'S DESIRE / THE FINDING OF THE BELOVED / GOD ONLY / THE MOON-SOUL AND THE SEA; lines 1135-1159 confidence: medium
"None but God has contemplated the beauty of God." The eye and lamp are two lights that become indistinguishable together.
The passage names the beauty of God and presents an overwhelming encounter with a moon linked to revelation of the Eternal Theophany.
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The Persian Mystics: Jalálu'd-dín Rúmí LOVE'S DESIRE / THE FINDING OF THE BELOVED / GOD ONLY / THE MOON-SOUL AND THE SEA; lines 1135-1159 confidence: medium
"None but God has contemplated the beauty of God"; the eye and the lamp are two lights that become indistinguishable when joined.
The passage centers on God's beauty, the moon as the only thing seen during soul travel, and the revelation of the Eternal Theophany.
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The Persian Mystics: Jalálu'd-dín Rúmí MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER / THE SEA OF LOVE / THE BEAUTY OF THE BELOVED; lines 1048-1063 confidence: high
The heading names the beauty of the Beloved; the speaker addresses the Beloved, says His beauty exceeds spiritual beauty, and asks what quality could equal His Essence.
The passage directly addresses the Beloved and centers the Beloved's beauty, Essence, Love, and the heart's desire for the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER / THE SEA OF LOVE / THE BEAUTY OF THE BELOVED; lines 1048-1063 confidence: high
The speaker addresses the Beloved, saying spiritual beauty is fair and glorious, but the Beloved's own beauty and loveliness are of another order; the passage asks for a quality equal to His Essence.
The passage centers on an addressed Beloved whose beauty exceeds spiritual beauty and whose love is desired by the heart.
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The Persian Mystics: Jalálu'd-dín Rúmí PREFACE / F. HADLAND DAVIS. / CONTENTS / INTRODUCTION; lines 116-142 confidence: low
The contents list an introduction with sections on the origin, early Sūfīs, nature, influence, and analysis of the religion of love.
A contents heading names an Analysis of the Religion of Love within the introduction to Sūfīism.
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The Persian Mystics: Jalálu'd-dín Rúmí REMEMBER GOD AND FORGET SELF / MORTALITY AND IMMORTALITY / THE BELOVED THE DIVINE CONSOLER / THE SEA OF LOVE; lines 1032-1045 confidence: low
The passage announces the time of Union’s attainment, Eternity’s beauty, favour, largesse, and the Ocean of perfect purity.
Under the title “The Sea of Love,” the passage presents the Sea/Ocean as the setting of union, eternity, largesse, perfect purity, and the Light of God.
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The Persian Mystics: Jalálu'd-dín Rúmí RESIGNATION THE WAY TO PERFECTION / LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM / THE RELIGION OF LOVE / SPIRIT GREATER THAN FORM; lines 1635-1678 confidence: high
Under the heading comparing the Beloved to a sweet garden, speakers submit to His edict, stake life for His favor, hold the Beloved in their hearts, and spend life in His service.
The passage names the Beloved, describes the Beloved filling the heart, and depicts lovers serving Him and being burned by His torch.
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The Persian Mystics: Jalálu'd-dín Rúmí RESIGNATION THE WAY TO PERFECTION / LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM / THE RELIGION OF LOVE / SPIRIT GREATER THAN FORM; lines 1635-1678 confidence: high
"We stake precious life to gain His favour"; lovers' souls are burned by the Beloved's torch and lovers are "moths burnt with the torch of the Beloved's face."
The Beloved fills hearts, receives service and life-spending devotion, and transforms the heart's perception of God from terror to garden.
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The Persian Mystics: Jalálu'd-dín Rúmí SAINT AND HYPOCRITE / HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY; lines 2102-2146 confidence: high
The speaker invokes the Lord as above description and asks whether bodily sight or human mind can behold or conceive the Lord’s frowns and smiles; hearts are described as bewitched by these alternating states.
The divine figure is invoked as Lord and addressed as Beauteous One and Beloved, with emphasis on beauty and the tale of the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí SAINT AND HYPOCRITE / HARSHNESS AND ADORATION / THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY; lines 2102-2146 confidence: high
The speaker invokes the Lord beyond description, questions whether eye, mind, or heart can behold the divine, and says the boundless garden of Love contains fruits beyond joy and sorrow; the true lover is above those states and independent of autumn or spring.
The passage addresses the Lord as Beauteous One and Beloved and presents the divine as beyond description, explanation, bodily sight, and mental conception.
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The Persian Mystics: Jalálu'd-dín Rúmí SORROW QUENCHED IN THE BELOVED / THE MUSIC OF LOVE / THE SILENCE OF LOVE / EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE; lines 1519-1537 confidence: high
"Love is the astrolabe of God's mysteries"; a lover may desire this or that love but is drawn at last to the "KING of Love."
The lover is finally drawn to the KING of Love, and the passage also warns against withdrawing the eyes from God.
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The Persian Mystics: Jalálu'd-dín Rúmí SORROW QUENCHED IN THE BELOVED / THE MUSIC OF LOVE / THE SILENCE OF LOVE / EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE; lines 1519-1537 confidence: high
A lover may seek one love or another, but in the end is drawn to the King of Love.
The lover is ultimately drawn beyond particular loves to the King of Love.
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The Persian Mystics: Jalálu'd-dín Rúmí SORROW TURNED TO JOY / THE GIFTS OF THE BELOVED / THE WISDOM OF THE WEAK / WHITE NIGHTS; lines 2023-2042 confidence: high
The happy soul, for love of God, lavishes family, wealth, and goods.
The happy soul lavishes family, wealth, and goods for love of God.
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The Persian Mystics: Jalálu'd-dín Rúmí SPIRIT GREATER THAN FORM / WHERE LOVE IS / THE LOVE OF THE BELOVED / THE LOVE OF THE SOUL AND THE LOVE OF THE BODY; lines 1697-1736 confidence: high
The section says lover and beloved both seek union; love in one heart signals reciprocal love in another; love of God in the heart implies God's love.
The passage states that lover and beloved both seek union and that love of God in the heart is reciprocated by God.
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The Persian Mystics: Jalálu'd-dín Rúmí SPIRIT GREATER THAN FORM / WHERE LOVE IS / THE LOVE OF THE BELOVED / THE LOVE OF THE SOUL AND THE LOVE OF THE BODY; lines 1697-1736 confidence: high
“No lover ever seeks union with his beloved, / But his beloved is also seeking union with him”; the lover’s love makes his body lean, while the Beloved’s love makes her fair and lusty.
The passage states that the beloved also seeks union with the lover and extends this reciprocity to God’s love for the one who loves God.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED / THY ROSE; lines 1392-1440 confidence: medium
The speaker says “Thou” crushes it into drops of Rose, it does not repine under the press, and it is “Thy Rose.”
The addressed “Thou” transforms the Rose and is later praised as Sun and Rose while nightingales sing for Thee.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED / THY ROSE; lines 1392-1440 confidence: high
The speaker identifies as the beloved's rose, is crushed into drops under a press, blossoms on the beloved's robe as a sign, and is poured on the world so it blooms in divine beauty.
A second-person beloved transforms the rose-speaker through pain, displays it as a sign, pours it on the world, and is praised with sun and rose imagery.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DEVIL MAKES USE OF THE BEAUTY OF WOMEN / SELF-AGGRANDISEMENT AND VAINGLORY NO PART OF LOVE / LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED; lines 1848-1884 confidence: medium
Heading: “HUMANITY THE REFLECTION OF THE BELOVED.”
The heading calls humanity the reflection of the Beloved, and the passage describes divine instruction reaching humanity through mirror imagery.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DEVIL MAKES USE OF THE BEAUTY OF WOMEN / SELF-AGGRANDISEMENT AND VAINGLORY NO PART OF LOVE / LOVE NEEDS NO MEDIATOR / HUMANITY THE REFLECTION OF THE BELOVED; lines 1848-1884 confidence: medium
A parrot is trained by a hidden speaker through a mirror; it sees its reflection, thinks another parrot is speaking, and imitates the trainer's words.
The passage heading names humanity as the reflection of the Beloved, and the body develops a mirror image in which divine speech reaches humanity through reflected or mediated forms.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION / A MOTHER WHOSE CHILDREN WERE IN THE BELOVED'S KEEPING; lines 2218-2232 confidence: medium
On looking again, she saw all the children she had lost in Paradise and cried, “they were lost to me, but safe with Thee!”
The title frames the children as in the Beloved's keeping, and the woman sees her lost children in Paradise and says they are safe with God.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DIVINE ABSORPTION / LOVE MORE THAN SORROW AND JOY / SEPARATION / A MOTHER WHOSE CHILDREN WERE IN THE BELOVED'S KEEPING; lines 2218-2232 confidence: medium
"O Lord! they were lost to me, but safe with Thee!"
The title frames the children as in the Beloved’s keeping, and the woman says they are safe with God.
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The Persian Mystics: Jalálu'd-dín Rúmí THE DIVINE UNION / RESIGNATION THE WAY TO PERFECTION / LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM / THE RELIGION OF LOVE; lines 1615-1632 confidence: medium
The section titled “The Religion of Love” says the lovers form a distinct sect with their own religion and faith; it compares love and value to an unstamped ruby and says love is fearless in a sea of fear.
The passage presents lovers as having a religion and faith of their own and describes love as fearless amid fear.
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The Persian Mystics: Jalálu'd-dín Rúmí THE FINDING OF THE BELOVED / GOD ONLY / THE MOON-SOUL AND THE SEA / LIFE IN DEATH; lines 1162-1177 confidence: medium
The speaker says not to weep or cry "Parted, parted!" at the hearse, because "Union and meeting are mine in that hour."
The speaker says that union and meeting are his in the hour of death and associates the grave with the communion of Paradise.
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The Persian Mystics: Jalálu'd-dín Rúmí THE JOURNEY TO THE BELOVED / THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED; lines 1296-1389 confidence: high
The road to the Ka'ba of Union contains thorn-bushes where thousands are slain by desire and others lie wounded without receiving fragrance or a token from the Friend.
The desired figure is called the Friend, linked to Union, beauty, face, refuge, divine love, and a radiant coming presence.
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The Persian Mystics: Jalálu'd-dín Rúmí THE JOURNEY TO THE BELOVED / THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED; lines 1296-1389 confidence: high
A morning voice from heaven tells the listener that laying the dust of the way wins the goal; the road to the Ka'ba of Union contains thorn-bushes and thousands slain or wounded by desire without receiving a token of the Friend.
The sought figure is named as Friend, Lord, God, and the object of Union; the seeker longs for the face, a token, and refuge with the Friend.
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The Persian Mystics: Jalálu'd-dín Rúmí THE JOURNEY TO THE BELOVED / THE DAY OF RESURRECTION / THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED; lines 1296-1389 confidence: medium
A coming figure appears as a moon crowned with Eternal Flame; love's wine fills the speaker, the body's clay house is ruined, Love hews dark abodes, and the heart leaps into Love's sea.
The passage links divine love with wine, a flame no flood can quench, the ruin of the body's clay house, and the heart leaping into Love's sea.
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The Persian Mystics: Jalálu'd-dín Rúmí THE LOVE OF THE SOUL AND THE LOVE OF THE BODY / DESTROY NOT EARTHLY BEAUTY: IT BEAUTIFIES THE SOUL / THE DEVIL MAKES USE OF THE BEAUTY OF WOMEN / SELF-AGGRANDISEMENT AND VAINGLORY NO PART OF LOVE; lines 1798-1829 confidence: medium
“Eternal Life is gained by utter abandonment of one's own life. When God appears to His ardent lover the lover is absorbed in Him”
The passage speaks of a true lover to God, an ardent lover absorbed in God, and God’s declaration of mutual belonging.
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The Persian Mystics: Jalálu'd-dín Rúmí THE LOVE OF THE SOUL AND THE LOVE OF THE BODY / DESTROY NOT EARTHLY BEAUTY: IT BEAUTIFIES THE SOUL / THE DEVIL MAKES USE OF THE BEAUTY OF WOMEN / SELF-AGGRANDISEMENT AND VAINGLORY NO PART OF LOVE; lines 1798-1829 confidence: high
The mistress says that sighs and invocations are a waste of time in her presence and that he seems to love his own effusions and ecstatic raptures rather than her.
The lover-mistress parable is followed by a statement about the true lover to God, to whom God says, "I am thine, and thou art Mine!"
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The Persian Mystics: Jalálu'd-dín Rúmí THE MOON-SOUL AND THE SEA / LIFE IN DEATH / THE WHOLE AND THE PART / THE DIVINE FRIEND; lines 1180-1200 confidence: medium
“Look on me, for thou art my companion in the grave / On the night when thou shalt pass from shop and dwelling.”
The section title names the Divine Friend, and the speaker claims to be the addressee's companion in the grave and present in the tomb.
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The Persian Mystics: Jalálu'd-dín Rúmí THE MOON-SOUL AND THE SEA / LIFE IN DEATH / THE WHOLE AND THE PART / THE DIVINE FRIEND; lines 1180-1200 confidence: high
"Look on me, for thou art my companion in the grave / On the night when thou shalt pass from shop and dwelling."
The section title names the Divine Friend, and the speaker presents this figure as a grave companion, inward presence, and constant watcher.
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The Persian Mystics: Jalálu'd-dín Rúmí THE OPTIMISTIC ROSE / THE TRUE MOSQUE / A PRAYER / ALL RELIGIONS ARE ONE; lines 2270-2316 confidence: medium
The footnotes gloss earlier references, including a note that the meaning of a poem is that all Love is One and shines through the ever-vanishing lanterns of the world.
A footnote says the poem signifies that all Love is One and shines through the ever-vanishing lanterns of the world.
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The Persian Mystics: Jalálu'd-dín Rúmí THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED / THY ROSE / THE BELOVED ALL IN ALL; lines 1443-1482 confidence: medium
“THE BELOVED ALL IN ALL”
The section title names the Beloved, while the poem names God as the source of starry Beauty and sun-beams, describes a cry of Love rising to Heaven, and states that the speaker sees God in All.
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The Persian Mystics: Jalálu'd-dín Rúmí THE RETURN OF THE BELOVED / THE CALL OF THE BELOVED / THY ROSE / THE BELOVED ALL IN ALL; lines 1443-1482 confidence: high
“My Soul sends up to Heaven each night the cry of Love”; God's starry beauty, sun, moon, dawn, and daylight excite that cry.
God's starry beauty draws the cry of love, and the speaker repeatedly responds to divine presence through love.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SEA OF LOVE / THE BEAUTY OF THE BELOVED / THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE; lines 1082-1104 confidence: high
Without the dealing of Love there is no entrance to the Beloved.
The passage names the Beloved, says Love is required for entrance to the Beloved, contrasts other attachments as borrowed or dead, and ends with the Beloved in the midst.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SEA OF LOVE / THE BEAUTY OF THE BELOVED / THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE; lines 1082-1104 confidence: medium
Like a mirror, the soul has received Thy image in its heart; / The tip of Thy curl has sunk into my heart like a comb.
The soul is likened to a mirror that receives an image in its heart, within a passage addressed to Love and the Beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SEA OF LOVE / THE BEAUTY OF THE BELOVED / THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE; lines 1082-1104 confidence: high
"Without the dealing of Love there is no entrance to the Beloved."
The passage repeatedly centers the Beloved as the goal of entrance, the image received in the soul, and the presence in the midst, while distinguishing this from mortal or earthly attachment.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SILENCE OF LOVE / EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE / THE ETERNAL SPLENDOUR OF THE BELOVED / WOMAN; lines 1540-1555 confidence: high
THE ETERNAL SPLENDOUR OF THE BELOVED
The passage is headed “The Eternal Splendour of the Beloved” and addresses a powerful “Thou” with intimate language, beauty imagery, sorrow-giving power, and world-renewing power.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SILENCE OF LOVE / EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE / THE ETERNAL SPLENDOUR OF THE BELOVED / WOMAN; lines 1540-1555 confidence: high
In “The Eternal Splendour of the Beloved,” the speaker asks why the addressed Thou flees earthly cries, gives sorrow, appears anew with each eastern dawn like a bright fountain, renews the old world’s life, and should hear the cry of a lifeless body and heart.
The passage’s heading names the Beloved, and the speaker addresses a powerful beloved figure with longing and complaint.
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The Persian Mystics: Jalálu'd-dín Rúmí THE SILENCE OF LOVE / EARTHLY LOVE ESSENTIAL TO THE LOVE DIVINE / THE ETERNAL SPLENDOUR OF THE BELOVED / WOMAN; lines 1540-1555 confidence: medium
“Woman is a ray of God, not a mere mistress, / The Creator's Self, as it were, not a mere creature!”
Woman is described as a ray of God and figuratively as the Creator’s Self rather than a mere creature or mistress.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE / LOVE'S DESIRE / THE FINDING OF THE BELOVED; lines 1107-1132 confidence: high
“Show Thy face”; “Ope Thy lips”; the speaker desires “the orchard and the rose-garden” and “sugar in plenty.”
The passage repeatedly addresses or names a Beloved whose face is desired and who is ultimately seen in the speaker's heart.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE / LOVE'S DESIRE / THE FINDING OF THE BELOVED; lines 1107-1132 confidence: high
The speaker surveys cross and Christians, visits an idol-temple and ancient pagoda, and goes to the mountains of Herāt and Candahār, but does not find the Beloved or any trace there.
The passage presents a first-person search for the Beloved through religious and geographic places, ending in an inward discovery.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WATER OF ETERNAL LIFE / EARTHLY LOVE AND THE LOVE DIVINE / LOVE'S DESIRE / THE FINDING OF THE BELOVED; lines 1107-1132 confidence: high
The speaker surveys cross and Christians, visits an idol-temple and ancient pagoda, and goes to the mountains of Herāt and Candahār, but does not find the Beloved or any trace there.
After not finding the Beloved in external sites, the speaker finds Him in the speaker's own heart.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WHOLE AND THE PART / THE DIVINE FRIEND / ASPIRATION / THE JOURNEY TO THE BELOVED; lines 1247-1263 confidence: medium
A “heavy slumber” falls from the circling spheres; “O soul, seek the Beloved”; “O watchman, be wakeful.”
The Beloved/Friend is capitalized and named as the goal of seeking in a Sufi source context.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WHOLE AND THE PART / THE DIVINE FRIEND / ASPIRATION / THE JOURNEY TO THE BELOVED; lines 1247-1263 confidence: high
“O soul, seek the Beloved, O friend, seek the Friend, / O watchman, be wakeful.”
The title names a journey to the Beloved, and the passage commands the soul and friend to seek the Beloved or Friend.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WISDOM OF THE WEAK / WHITE NIGHTS / SAINT AND HYPOCRITE / HARSHNESS AND ADORATION; lines 2067-2081 confidence: medium
“Let me then, I say, make complaint / Of the severity of that Fickle Fair One.”
A beloved, king-like figure chastens the speaker, yet the speaker adores the figure and finds sweetness in grief and pain that please him.
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The Persian Mystics: Jalálu'd-dín Rúmí THE WISDOM OF THE WEAK / WHITE NIGHTS / SAINT AND HYPOCRITE / HARSHNESS AND ADORATION; lines 2067-2081 confidence: high
"make complaint / Of the severity of that Fickle Fair One"; the speaker says his cries sound sweet and that the figure requires cries and groans.
The addressed figure is a fair one and king whose harshness, chastening, and bitters are received by the speaker as sweetness and a reason for adoration.
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The Persian Mystics: Jalálu'd-dín Rúmí THY ROSE / THE BELOVED ALL IN ALL / SORROW QUENCHED IN THE BELOVED / THE MUSIC OF LOVE; lines 1485-1516 confidence: high
The speaker says his days pass with grief, labour, sorrow, and anguish, yet asks the Incomparable Pure One to abide.
The Beloved/Pure One is addressed as abiding, all in all, all that lives, and the source whose countenance gives light.
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The Persian Mystics: Jalálu'd-dín Rúmí THY ROSE / THE BELOVED ALL IN ALL / SORROW QUENCHED IN THE BELOVED / THE MUSIC OF LOVE; lines 1485-1516 confidence: high
“The BELOVED is all in all” and “all that lives”; the lover “veils Him” and is “a dead thing.”
The Beloved is described as all in all, all that lives, and the source whose light and presence sustain the lover.
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The Persian Mystics: Jalálu'd-dín Rúmí V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ / A CRY TO THE BELOVED; lines 936-949 confidence: high
The passage is titled as a cry to the Beloved; the speaker gives tidings to a star and asks it to present service to a moon-like form and to the sun that makes hard rocks gold by burning.
The title and repeated address center on the Beloved, who receives service, news, and direct appeals for aid.
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The Persian Mystics: Jalálu'd-dín Rúmí V. ANALYSIS OF THE RELIGION OF LOVE / I. LIFE / II. SHAMSI TABRIZ / A CRY TO THE BELOVED; lines 936-949 confidence: high
The speaker bows and asks that service be carried to the moon-like form and to the sun, which makes hard rocks gold by burning.
The passage is addressed to the Beloved or Thou, who receives service, news, and petitions and is represented with exalted celestial imagery.
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The Persian Mystics: Jalálu'd-dín Rúmí WHITE NIGHTS / SAINT AND HYPOCRITE / HARSHNESS AND ADORATION / THE DIVINE ABSORPTION; lines 2084-2099 confidence: high
“Where are ‘We’ and ‘I’? There where our Beloved is!”
The passage explicitly names the Beloved and frames the divine Thou as the object in whom separate identities are absorbed.
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The Persian Mystics: Jalálu'd-dín Rúmí WHITE NIGHTS / SAINT AND HYPOCRITE / HARSHNESS AND ADORATION / THE DIVINE ABSORPTION; lines 2084-2099 confidence: high
“where are throne and door-way? / Where are ‘We’ and ‘I’? There where our Beloved is!”
The text names the Beloved as the place where We and I are and as the final recipient of absorption.
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The Persian Mystics: Jalálu'd-dín Rúmí WOMAN / THE DIVINE UNION / RESIGNATION THE WAY TO PERFECTION / LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM; lines 1583-1612 confidence: high
"Whatsoever is perceived by sense He annuls"; He establishes what is hidden from the senses; the lover's love is visible, the Beloved hidden, and the Friend absent.
The lover's love is visible while the Beloved is hidden; the passage urges renunciation of outward forms and directs the lover to consider what is really beloved.
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The Persian Mystics: Jalálu'd-dín Rúmí WOMAN / THE DIVINE UNION / RESIGNATION THE WAY TO PERFECTION / LOVE THE SOURCE OF LIGHT RATHER THAN VANISHING FORM; lines 1583-1612 confidence: high
The lover's love is visible, the Beloved hidden; the Friend is absent, while the distraction caused by the Friend is present.
The lover's love is visible, while the Beloved is hidden, and the Friend is absent though the distraction caused by the Friend is present.
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The Persian Mystics: Jámí BREAKING THE IDOL / ZULAIKHA'S YOUTH RETURNS / ZULAIKHA'S WISH / UNITED; lines 1686-1725 confidence: medium
The prayer asks that Jámí travel only God’s path, seek no union except God’s, utter no name except God’s, and see no face except God’s.
The prayer asks that Jámí seek only God’s union, utter only God’s name, and see only God’s face.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 259-357 confidence: medium
After retiring from public life, Jámí says to God, "whatsoever comes into view from afar appears to me to be You," and answers a contemporary’s question about a jackass with a witty retort.
Jámí states that God occupies his thoughts and vision so completely that whatever appears from afar seems to be God.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 359-469 confidence: high
The sage explains Celestial Love, reveals the goddess Zuhrah, and Salámán comes to see Absál as bondage of the senses while the new Knowledge or Love belongs to eternity.
After the fire scene, the sage reveals Celestial Love and Zuhrah; Salámán comes to see Absál as sensual bondage and the new Knowledge or Love as eternal.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 359-469 confidence: high
Flash II pleads for love of One, abandonment of earthly loves that distract from the Beloved, condemnation of vanity and worldly wisdom except the lore of God, and devotion to Him who never fails.
The Lawá'ih is said to plead for love of One and abandonment of earthly loves that distract the lover from the Beloved.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 359-469 confidence: high
The Lawá'ih is compared with Gulshan-i-Raz: both teach that God’s indwelling occurs when self is realized as delusion and worldly things are phantom-pictures on a mirror; the heart must be made ready for the Beloved.
The quoted teaching says the chamber of the heart must be swept out, and when the self departs the Beloved will enter and display beauty.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 359-469 confidence: high
After the fire scene, the sage explains Celestial Love and reveals Zuhrah; Salámán comes to see Absál as bondage and the new Love as belonging to eternity, contrasting corruptible and incorruptible love.
The passage explicitly contrasts the bondage of Absál and corruptible sensory love with Celestial Love and the Harvest of Eternity.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 359-469 confidence: high
Flash II pleads for love of One and abandonment of lesser earthly loves that distract from the Beloved; Jámí condemns vanity and worldly wisdom and urges giving the heart to the one who never fails.
Flash II is summarized as pleading for love of One and abandonment of earthly loves that distract from the Beloved.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 471-576 confidence: high
The commentary depicts Jámí as like a little child listening to a tale, silenced by the theme; it says the Beloved’s sweet call is heard in silence and that He alone gives the Great Peace.
The prose explicitly names the Beloved, whose sweet call is heard in silence and who alone gives Great Peace.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 471-576 confidence: high
The narrator describes the mystical poet as like a little child listening to a tale, silenced by the theme, and says the Beloved's sweet call is heard in the quiet heart rather than in public controversy.
The passage explicitly describes hearing the sweet call of the Beloved in the quiet heart and receiving Great Peace from Him.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 578-687 confidence: high
The poem is said to reveal “the beauty of the Beloved,” approached after “much purification,” when “passion is an idol that must be broken” and Love is “the pure Light” from Him.
The passage states that the poem reveals the beauty of the Beloved and that He can be approached only after purification, when physical form no longer blinds the soul.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 578-687 confidence: high
The passage says Yúsuf and Zulaikha, like Salámán and Absál, reveals the Beloved's beauty, approached after purification, when physical form no longer blinds the soul and passion is an idol to be broken.
The passage explicitly says the work reveals the beauty of the Beloved and that He can be approached only after much purification.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 689-785 confidence: high
Section titled “Thou Movest Under All the Forms of Truth”: the divine “Thou” animates lovers, hides heavenly beauty behind mortal beauty, appears through Laila and Shírín, and is sought by the speaker in self-lost revelation.
The passage says beloved and lover, mortal beauty, Laila, and Shírín all depend on the divine “Thou,” whose heavenly beauty hides behind mortal beauty as a veil.
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The Persian Mystics: Jámí CONTENTS / INTRODUCTION / EDITORIAL NOTE / INTRODUCTION; lines 689-785 confidence: high
"mortal beauty but the veil / Thy heavenly hides behind"
The divine addressee is the source of lovers' experience, while mortal beauty is described as a veil hiding heavenly beauty.
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The Persian Mystics: Jámí FIFTH GARDEN / A LOVERS' DIALOGUE / A KIND FRIEND / A BEAUTIFUL WOMAN; lines 2013-2038 confidence: medium
The admirer replies that the spirit residing in her form had enthralled him; since it has departed, he cannot love a dead body or fondle a withered rose.
The former admirer says that what ravished him was the spirit residing in the woman's form, and that after the spirit departed he could not love the remaining body.
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The Persian Mystics: Jámí FINITE AND INFINITE BEAUTY / HOW TO OBTAIN UNION WITH THE DIVINE / TRUTH / THE GOD BEHIND THE VEIL; lines 1197-1212 confidence: high
Title: “THE GOD BEHIND THE VEIL.”
The passage presents a beautiful veiled figure identified by the title as God, addressed in beloved imagery and described as hidden behind a veil.
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The Persian Mystics: Jámí FINITE AND INFINITE BEAUTY / HOW TO OBTAIN UNION WITH THE DIVINE / TRUTH / THE GOD BEHIND THE VEIL; lines 1197-1212 confidence: high
"O fairest rose, with rosebud mouth," I sighed, / "Why, like coquettes, thy face for ever hide?"
The passage presents a beautiful figure identified as God behind the veil, addressed in beloved imagery and described as veiled because the unveiled brightness would be unbearable.
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The Persian Mystics: Jámí MIRROR AND FACE / THE COMING OF THE BELOVED / THE WAYS OF LOVE / THE BEAUTY OF ZULAIKHA; lines 1490-1513 confidence: medium
Her chin has “a well with the Water of Life therein”; a thirsty sage would feel the spray, but “lost were his soul” if he came nearer, because it was “a well and a whirlpool too.”
Zulaikha’s beauty is described as containing the Water of Life, attracting a thirsty sage, and holding the hearts of holy people in prayer-like absorption.
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The Persian Mystics: Jámí MIRROR AND FACE / THE COMING OF THE BELOVED / THE WAYS OF LOVE / THE BEAUTY OF ZULAIKHA; lines 1490-1513 confidence: medium
Zulaikha’s face is compared to the garden of Iram, with roses of every hue, and her dark moles are compared to Moorish boys among rose-beds.
The passage presents Zulaikha’s beauty as surpassing natural and precious objects and as powerful enough to draw creatures and endanger a sage’s soul.
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The Persian Mystics: Jámí MORTAL PARAMOUR / THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT; lines 980-1076 confidence: medium
Looking into the mirror, the male figure sees the face of his Desire and lovers in solitude, turned from the world and looking only in each other's eyes.
The lovers are shown in solitude, turned away from the world, and focused only on each other; the lament recalls a similar separation from the world in mutual love.
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The Persian Mystics: Jámí MORTAL PARAMOUR / THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT; lines 980-1076 confidence: high
The individual prayer asks for a pure heart, tears and sighs, guidance on God's road away from self, approach to God through self-loss, aversion from worldly company, and a heart engrossed with love to God.
The prayer asks that the heart turn from other objects and be engrossed with love to God.
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The Persian Mystics: Jámí MORTAL PARAMOUR / THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT; lines 980-1076 confidence: medium
Looking into the mirror, the viewer sees the face of his Desire and lovers in solitude, turned from the world and absorbed in each other's eyes.
The mirror shows lovers turned from the world, and the lament describes two lovers for whom the world is nothing.
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The Persian Mystics: Jámí MORTAL PARAMOUR / THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT; lines 980-1076 confidence: high
The prayer asks that the phenomenal world be 'the mirror to reflect the manifestations of thy beauty' rather than a veil separating the speaker from God.
The prayer asks that the phenomenal world reflect divine beauty and not separate the speaker from God.
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The Persian Mystics: Jámí ONE HEART, ONE LOVE / GOD THE ONLY LOVE ETERNAL / FINITE AND INFINITE BEAUTY / HOW TO OBTAIN UNION WITH THE DIVINE; lines 1134-1168 confidence: high
"The Loved One's rose-parterre I went to see"; beauty's Torch says, "I am the tree; these flowers My offshoots are."
The passage names the Loved One, beauty's Torch, and Beauty Absolute, and presents finite beauties as offshoots that should not obscure the source.
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The Persian Mystics: Jámí ONE HEART, ONE LOVE / GOD THE ONLY LOVE ETERNAL / FINITE AND INFINITE BEAUTY / HOW TO OBTAIN UNION WITH THE DIVINE; lines 1134-1168 confidence: high
"The Loved One's rose-parterre I went to see"; beauty's Torch says, "I am the tree; these flowers My offshoots are. / Let not these offshoots hide from thee the tree."
The Loved One, Beauty Absolute, and Truth are presented as the ultimate object beyond finite beauties.
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The Persian Mystics: Jámí REASON / THE MOON OF LOVE / MORTAL PARAMOUR / THE DIVINE UNION; lines 948-977 confidence: medium
Heading 'THE DIVINE UNION'; an unnamed speaker whispers to Wámik, calls him wounded by Azra, and asks why he moves silently like a shadow while meditating night and day.
The heading names divine union, Wámik calls the figure gazed upon his Beloved, and the union language moves beyond ordinary separation into Oneness.
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The Persian Mystics: Jámí REASON / THE MOON OF LOVE / MORTAL PARAMOUR / THE DIVINE UNION; lines 948-977 confidence: high
Wámik would pitch his tent there forever and gaze on his beloved until gazing becomes being the beloved, with the two blended in one undivided being.
Wámik describes gazing on the beloved until he becomes the one gazed upon and the two are blended in one undivided being; he then states that union is only in oneness.
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The Persian Mystics: Jámí REASON / THE MOON OF LOVE / MORTAL PARAMOUR / THE DIVINE UNION; lines 948-977 confidence: medium
An unnamed speaker calls Wámik a victim of Azra's wound and asks why he moves silently like a shadow, meditating night and day.
Wámik is described as victim of Azra's wound and says all that is not One suffers with the wound of absence.
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The Persian Mystics: Jámí THE BABY DARLING / LOVE'S EARTHLY WAY / REASON / THE MOON OF LOVE; lines 894-925 confidence: medium
The speaker addresses 'O Shah,' calls himself slave of the Shah's desire and dust of the throne, says he would do whatever the Shah desires, laments his incompetence and infirm will, and seeks liberation from a snare.
The speaker addresses the Shah as master of desire, calls himself slave and dust, and later follows the moon-like figure beyond both worlds.
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The Persian Mystics: Jámí THE BABY DARLING / LOVE'S EARTHLY WAY / REASON / THE MOON OF LOVE; lines 894-925 confidence: medium
The speaker addresses the Shah as slave of his desire and dust of his throne, willing to do what he desires but sick with incompetence and infirm will.
The speaker addresses a Shah in terms of servitude, obedience, and dust before the throne, then follows a moon-like beloved after leaving both worlds behind.
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The Persian Mystics: Jámí THE BABY DARLING / LOVE'S EARTHLY WAY / REASON / THE MOON OF LOVE; lines 894-925 confidence: medium
Without the lover a chamber like Heaven's horizon is narrower than an ant's eye; with the lover, an ant's eye is wider than Heaven.
The lover's absence makes even a chamber as broad as Heaven seem narrow, while the lover's presence makes an ant's eye wider than Heaven.
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The Persian Mystics: Jámí THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE / THE FREEING OF ZULAIKHA'S SOUL / BREAKING THE IDOL; lines 1611-1655 confidence: medium
In prayer, she addresses God as lover of the humble and says that idols, their makers, and their servants bow to God; idol worshippers bend to the idol's face because of God's lent splendour, and God's love stirs the sculptor.
Zulaikha's prayer says worshippers bow toward the idol's face because of God's lent splendour, and that God's love stirs the sculptor.
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The Persian Mystics: Jámí THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE / THE FREEING OF ZULAIKHA'S SOUL / BREAKING THE IDOL; lines 1611-1655 confidence: medium
Yúsuf and Zulaikha meet again; he asks about her lost youth, beauty, pride, eye-light, and bent cypress-like form, and she attributes them to separation and lament for him.
Zulaikha's former beauty, pride, wealth, and ornaments are gone through separation from Yúsuf, and her heart is described as Love's storehouse.
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The Persian Mystics: Jámí THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE / THE FREEING OF ZULAIKHA'S SOUL / BREAKING THE IDOL; lines 1611-1655 confidence: medium
She says she wronged herself by turning her eyes to an idol, asks that the dark stain of sin be washed away, and prays for restored blessing and a rose from Yúsuf's garden.
After repentance and prayer, the next section presents Yúsuf and Zulaikha meeting again.
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The Persian Mystics: Jámí THE COMING OF THE BELOVED / THE WAYS OF LOVE / THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE; lines 1516-1594 confidence: medium
In “Mine Eyes Have Been Touched,” the speaker says Truth's ray has touched the eyes, folly has passed, the heart is knit to the Soul of the soul, and the speaker has been turned toward knowing and meeting the Lord of all creatures.
The awakened speaker names the Soul of the soul and the Lord of all creatures as the one toward whom the heart and feet are directed.
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The Persian Mystics: Jámí THE COMING OF THE BELOVED / THE WAYS OF LOVE / THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE; lines 1516-1594 confidence: medium
The speaker says their eyes were touched by Truth's ray and opened, folly passed away, the heart was knit to the Soul of the soul, and their feet were turned from strange love toward knowing the Lord of all creatures.
The awakened speaker says Truth opened their eyes and turned their feet from strange love toward knowing and meeting the Lord of all creatures.
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The Persian Mystics: Jámí THE COMING OF THE BELOVED / THE WAYS OF LOVE / THE BEAUTY OF ZULAIKHA / SELF DIES IN LOVE; lines 1516-1594 confidence: medium
Zulaikha invokes Yusuf's beauty and her own longing, tears, sighs, fetters of grief, wounds, dead flowers of the heart, and hunger for the food of her soul while asking him for pity and relief.
Zulaikha pleads for pity and relief, describing herself as bound by fetters of grief, wounded, and hungry for Yusuf.
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The Persian Mystics: Jámí THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT / ONE HEART, ONE LOVE; lines 1079-1114 confidence: medium
The speaker says the 'all' creates distraction of the heart and commands the addressee to give the heart to ONE and break with all.
The passage contrasts earthly loves and earthly beauties with ONE, Absolute Beauty, a beloved figure, and the preferred glimpse of Thee.
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The Persian Mystics: Jámí THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT / ONE HEART, ONE LOVE; lines 1079-1114 confidence: high
The poem addresses a votary of earthly idols, mentions veils of flesh, and states that a single heart can contain only one love rather than a host of loves.
The passage contrasts earthly and multiple loves with devotion to ONE, and the beloved is addressed as the object whose glimpse is worth more than earthly beauties.
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The Persian Mystics: Jámí THE DIVINE UNION / THE MAGIC MIRROR / A LAMENT / ONE HEART, ONE LOVE; lines 1079-1114 confidence: high
Absolute Beauty is defined as Divine Majesty with power and bounty; all beauty and perfection are rays of perfect beauty reflected in beings, and wisdom derives from Divine wisdom.
Absolute Beauty is described as Divine Majesty, with all manifested beauty and perfection as rays of that perfect beauty; wisdom is derived from Divine wisdom.
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The Persian Mystics: Jámí THE FREEING OF ZULAIKHA'S SOUL / BREAKING THE IDOL / ZULAIKHA'S YOUTH RETURNS / ZULAIKHA'S WISH; lines 1672-1683 confidence: medium
Under the heading “Zulaikha's Wish,” she replies that the sole wish of her heart is to be near the addressee and sit by his side.
The speaker's single wish is to remain near the beloved addressee, sit by his side, see him, and rest at his foot.
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The Persian Mystics: Jámí THE HIDDEN TRUTH / THE SEA OF BEING / THE REVELATION OF TRUTH / MIRROR AND FACE; lines 1343-1376 confidence: medium
Title "MIRROR AND FACE"; speakers say the peerless beauty's face is within the mirror's heart, and the marvel is that it is both mirror and face.
The poem speaks of a peerless beauty whose image, or self, appears in all mirrors in the universe.
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The Persian Mystics: Jámí THE HIDDEN TRUTH / THE SEA OF BEING / THE REVELATION OF TRUTH / MIRROR AND FACE; lines 1343-1376 confidence: medium
“This peerless beauty's face / Within the mirror's heart now holds a place”; the marvel is that it is “at once mirror and face.”
The addressed figure is described as peerless beauty, radiance, and effluent grace, with universal mirrors displaying the figure’s image or self.
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The Persian Mystics: Jámí THE MAGIC MIRROR / A LAMENT / ONE HEART, ONE LOVE / GOD THE ONLY LOVE ETERNAL; lines 1117-1131 confidence: high
“Turn thy heart away from all of them, and firmly attach it to God. Break loose from all these, and cleave closely to Him.”
The title names God as the only eternal love, and the passage instructs the addressee to attach the heart to God and cleave to Him.
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The Persian Mystics: Jámí THE MAGIC MIRROR / A LAMENT / ONE HEART, ONE LOVE / GOD THE ONLY LOVE ETERNAL; lines 1117-1131 confidence: high
"Turn thy heart away from all of them, and firmly attach it to God. Break loose from all these, and cleave closely to Him."
The passage urges the addressee to turn the heart from transient objects and attach it to God, under the heading 'God the only love eternal.'
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The Persian Mystics: Jámí THE REVELATION OF TRUTH / MIRROR AND FACE / THE COMING OF THE BELOVED / THE WAYS OF LOVE; lines 1462-1487 confidence: medium
The disciple asks, "To wisdom's pleasant path be thou my guide"; the master answers by asking whether he has loved and tells him to learn love and return.
The passage contrasts earthly love with the wine of holier love and frames love as a necessary lesson for the disciple.
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The Persian Mystics: Jámí THE REVELATION OF TRUTH / MIRROR AND FACE / THE COMING OF THE BELOVED / THE WAYS OF LOVE; lines 1462-1487 confidence: medium
“Drink deep of earthly love, that so thy lip / May learn the wine of holier love to sip.”
The text explicitly presents earthly love as a means by which the lip learns to sip the wine of holier love.
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The Persian Mystics: Jámí THE SEA OF BEING / THE REVELATION OF TRUTH / MIRROR AND FACE / THE COMING OF THE BELOVED; lines 1379-1459 confidence: high
The passage opens in primordial solitude: the universe is dormant, and One Being or Beauty Supreme is unmanifest, pure, self-contained, and apart from 'I,' 'Thou,' and duality.
The section title names the Beloved, and the passage presents Supreme or Everlasting Beauty moving from concealment to manifestation before the universe.
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The Persian Mystics: Jámí THE SEA OF BEING / THE REVELATION OF TRUTH / MIRROR AND FACE / THE COMING OF THE BELOVED; lines 1379-1459 confidence: medium
The final stanza says hearts unwounded by love are soulless clay and urges the addressee to turn from the world to the world of Love.
The final stanza says a heart not wounded by love is like soulless clay, implying love’s wound as a sign of living spiritual capacity.
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The Persian Mystics: Jámí THE SEA OF BEING / THE REVELATION OF TRUTH / MIRROR AND FACE / THE COMING OF THE BELOVED; lines 1379-1459 confidence: high
A signless, solitary One Being is concealed in selflessness, exempt from I/Thou distinction and duality, and described as Beauty Supreme concealed in the Unseen.
The section title names the Beloved, and the passage presents Supreme or Everlasting Beauty revealing itself out of concealment to charm souls and worlds.
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The Persian Mystics: Jámí TRUTH / THE GOD BEHIND THE VEIL / THE DIVINE SELF-SUFFICIENCY / OUR NEED OF THE BELOVED; lines 1231-1268 confidence: high
The section is titled “OUR NEED OF THE BELOVED”; the addressed Thou is unseen, makes all things seen, is not separate from humans, and has no need of humans while humans need the Thou.
The section title names the Beloved; humans are said to need the divine, and divine beauty produces the speaker’s love and longing.
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The Persian Mystics: Jámí TRUTH / THE GOD BEHIND THE VEIL / THE DIVINE SELF-SUFFICIENCY / OUR NEED OF THE BELOVED; lines 1231-1268 confidence: high
“O Thou whose sacred precincts none may see, / Unseen Thou makest all things seen to be; ... Thou hast no need of us, but we of Thee.”
The passage repeatedly frames the divine as Beloved, needed by humans, without peer or substitute, and the object of love and longing.
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The Persian Mystics: Jámí UNITED / SONG IN PRAISE OF THE BELOVED / FIRST GARDEN / PRIDE; lines 1744-1768 confidence: medium
The speaker says they crossed land and sea, plains, and mountains, turned away from what they met, and found the way to the sanctuary of Union with Thee.
The speaker crosses multiple terrains, turns away from encountered things, and seeks the sanctuary of Union with Thee.
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The Persian Mystics: Jámí UNITED / SONG IN PRAISE OF THE BELOVED / FIRST GARDEN / PRIDE; lines 1744-1768 confidence: high
The speaker addresses the Beloved, says they cannot be far from the Beloved's door, cannot be satisfied with Paradise and houris, places the head on the threshold by Love's command and not for wages, and cannot bear to be away from the door.
The speaker addresses the Beloved, cannot be far from the Beloved's door, is not satisfied by Paradise and houris, and rests at the threshold not for wages.
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The Persian Mystics: Jámí UNITED / SONG IN PRAISE OF THE BELOVED / FIRST GARDEN / PRIDE; lines 1744-1768 confidence: high
The speaker addresses the Beloved, says he cannot be far from the Beloved's door, cannot be satisfied with Paradise and houris, and keeps his head on the threshold by Love's command rather than for wages.
The speaker addresses the Beloved, refuses satisfaction with Paradise and houris, and remains at the Beloved's door and threshold not for wages.
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The Persian Mystics: Jámí ZULAIKHA'S YOUTH RETURNS / ZULAIKHA'S WISH / UNITED / SONG IN PRAISE OF THE BELOVED; lines 1728-1741 confidence: high
"SONG IN PRAISE OF THE BELOVED"
The heading names the Beloved, and the hymn addresses the Maker while praising His creation, glory, and perfection.
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The Persian Mystics: Jámí ZULAIKHA'S YOUTH RETURNS / ZULAIKHA'S WISH / UNITED / SONG IN PRAISE OF THE BELOVED; lines 1728-1741 confidence: medium
"To the Maker!--the rose-grove of the sphere / Is but one leaf of the flower-garden of... His creation"
The heading names the Beloved, and the passage praises the Maker as creator, source of glory, and perfection.
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The Sufism of the Rubáiyát, or, the Secret of the Great Paradox The Sufism of the Rubáiyát, or, the Secret of the Great Paradox / PREFACE / THE AUTHOR. / NOTES; lines 1466-1627 confidence: medium
All people are called to peace and freedom, to cultivate flowers, eliminate remorse and shame, and illuminate spiritual gardens of the mind where vines of love, truth, peace, and charity flourish in harmony with God.
The passage urges cultivation of spiritual gardens of the mind, peace, love, truth, charity, and harmony with God as the end.
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The Sufism of the Rubáiyát, or, the Secret of the Great Paradox The Sufism of the Rubáiyát, or, the Secret of the Great Paradox / PREFACE / THE AUTHOR. / NOTES; lines 1630-1725 confidence: high
The speaker writes in praise of the “Soul Divine of Love,” calling it conqueror of life’s sorrow, song, singer, dance, friendship, fountain, wine, light, dew, flame, comforter, and cheering vintage.
The divine addressee is praised as love, friend, light, comforter, and wine that cheers.
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The Sufism of the Rubáiyát, or, the Secret of the Great Paradox The Sufism of the Rubáiyát, or, the Secret of the Great Paradox / PREFACE / THE AUTHOR. / NOTES; lines 1630-1725 confidence: high
The speaker praises the 'Soul Divine of Love' as conqueror of life's sorrow, song/singer/dance, friend, light of the wintry path, dew drop, flame, comforter, wine, and life of all that is born.
The divine addressee is directly praised as love, friend, light, comforter, wine, flame, and life of all that is born.
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The Sufism of the Rubáiyát, or, the Secret of the Great Paradox The Sufism of the Rubáiyát, or, the Secret of the Great Paradox / PREFACE / THE AUTHOR. / NOTES; lines 237-384 confidence: high
The soul of man is called the Lips of the Beloved and, in the note, the Lips of God; the Spiritual Voice tells humanity to live; the Nightingale calls to the Rose; the Voice bids transformation of waters of doubt and despair into wine.
The soul of man is called the Lips of the Beloved and Lips of God through which a Spiritual Voice speaks and calls humanity to live.
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The Sufism of the Rubáiyát, or, the Secret of the Great Paradox The Sufism of the Rubáiyát, or, the Secret of the Great Paradox / PREFACE / THE AUTHOR. / NOTES; lines 237-384 confidence: high
The soul of man, called the Lips of the Beloved, speaks through an inner voice commanding life; the Nightingale calls to the Rose, and the divine voice turns waters of doubt and despair into wine.
The soul of man is called the Lips of the Beloved or Lips of God through which a spiritual voice speaks and commands life.
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The Sufistic Quatrains of Omar Khayyam ASTRONOMER-POET OF PERSIA / EDWARD FITZGERALD. / THE FITZGERALD FIRST EDITION / VIII.; lines 1035-1072 confidence: low
“a Loaf of Bread beneath the Bough, / A Flask of Wine, a Book of Verse--and Thou / Beside me singing in the Wilderness” makes wilderness “Paradise enow.”
The companion, bread, wine, verse, song, and wilderness are declared sufficient paradise.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 10132-10368 confidence: high
The soul says it was once the divine addressee's cherished bride and asks why it has been divorced from that side and doomed to remain in the world.
The soul says it was once the cherished bride of the divine addressee and asks why it has been divorced and made to abide in the world.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 10370-10604 confidence: low
Love is asked to lift sorrow's burden from the lover's heart while Love still possesses graces.
Love is directly addressed as able to lift sorrow from the lover's heart, and chains of love are valued over freeing captives.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 10606-10803 confidence: medium
Quatrain 482 says the speaker sighs for union with love, suffers absence, and cannot tell grief; the note calls such quatrains firakiya.
The speaker explicitly seeks union with love and suffers absence.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 10606-10803 confidence: medium
The speaker sighs in vain for union with love, suffers absence, and the note says such quatrains are called firakiya and are rare in Khayyam.
The speaker sighs for union with love and suffers absence; the note calls the quatrains firakiya, or separation poems.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 5552-5794 confidence: medium
A speaker asks who brought the addressee from the harem at nightfall to one who burns as fire in absence and trembles like hot air.
The beloved's absence causes the addressed sufferer to burn as fire and tremble like hot air.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 5796-6031 confidence: high
A pearl from an unknown mine and ruby with unseen stamp introduce the tale of love; the note says real love of God differs from the popular idea. Another quatrain says every heart and soul longs for Thee.
The passage says no heart is not torn from Thee and no soul does not pine for Thee; an editor's note also identifies the love in another quatrain as real love of God.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 5796-6031 confidence: high
No heart is without bleeding when torn from the divine addressee; every sight craves the divine face, and every soul pines for the divine. The note says the liver was considered the seat of love.
The passage says no heart is free from pain when torn from the divine addressee and no soul fails to care for the divine.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 6033-6256 confidence: high
On a dreadful day, wrath rends the sky and darkness dims the stars; the speaker says he will seize the Loved One's skirt and ask why guiltless ones were doomed to die. The note refers to Koran lxxxii.1.
The divine is addressed as the Loved One; hearts lit by love are entered in the book of love, and the editorial note compares Hafiz on the light of the Beloved's face.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 6033-6256 confidence: high
Synagogue, cloister, mosque, and school are ruled by hell's terrors and heaven's lures; masters of Allah's mysteries do not sow that chaff. The note says reabsorbed souls have no concern with material heaven and hell.
Love-lit hearts in mosque or synagogue are written in the book of love and are unvexed by heaven's hopes or hell's fears; masters of Allah's mysteries likewise reject heaven-and-hell chaff.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 6709-6927 confidence: medium
A loveless heart is called cold; zephyrs carry the beloved's fragrance, and the speaker's heart leaves him to go toward the beloved.
The beloved draws the heart away from the speaker, and the true lover seeks the loved one even in heaven or hell; the note says the quatrain is probably mystical.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 6709-6927 confidence: medium
Spring is sweet to the rose's face; the beloved's face adds charm; today is sweet while yesterday is sad.
The beloved is pursued by true lovers regardless of appearance, status, or descent to hell; beloved imagery recurs throughout the passage.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7161-7399 confidence: medium
Whoever seeks a rose-cheeked fair must bear fortune’s thorns; a cut comb touches the lady’s hair; note says Lyttleton has a similar sentiment.
The passage includes longing for a rose-cheeked fair, a Houri maid, a lady’s hair, and a rose addressed in a wine-filled garden scene.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7161-7399 confidence: high
The Friend's wine gladdens the heart; the speaker cannot repent until Allah's grace softens the hard heart. The note states that man is powerless to mend ways without divine grace.
The speaker cannot repent until Allah's grace softens his hard heart, and the Friend's wine gladdens the heart.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7161-7399 confidence: medium
To gain a rose-cheeked fair, one must bear fortune's thorns; a comb touches the lady's hair only after being cleft by cuts. The note says Lyttleton expresses a similar sentiment.
The aspirant to the rose-cheeked fair must endure fortune's thorns, as the comb is cut before touching the lady's hair.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7401-7622 confidence: medium
Worldly love is counterfeit and like a half-spent blaze; true love rests not, sleeps not, and craves neither drink nor meat.
The passage contrasts Houris in Paradise with the discovery, after the veil is lifted, of distance from Thee; it also distinguishes true love from counterfeit worldly love.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7401-7622 confidence: medium
Some desire the imagined Houris of Paradise, but when the veil is lifted they will find how far they are from 'Thee.'
The passage contrasts desire for Houris with the discovery of distance from 'Thee' when the veil is lifted.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7843-8069 confidence: medium
“From love to Thee I now lay down my life, / In hope Thy love will raise me up again.”
The speaker lays down life from love for the addressed Thou in hope that Thou's love will raise him again.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7843-8069 confidence: medium
The heart is like tapers lit by beauty's eyes; beauty is a flame where hearts like moths offer themselves as a burning sacrifice.
The heart is lit by beauty's eyes and hearts like moths offer themselves as a burning sacrifice in beauty's flame.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 7843-8069 confidence: medium
“From love to Thee I now lay down my life, / In hope Thy love will raise me up again.”
The speaker lays down life from love for the addressed Thou and hopes that the Thou's love will raise him up again; hearts offer themselves to flame like moths.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 8071-8296 confidence: high
The world cannot find Thee through wealth or poverty; Thee is near, but human ears are deaf and eyes blinded. The note compares Hafiz Ode 355 on eyes beholding Thee.
The world cannot find Thee though Thee is near; human eyes and ears fail to perceive the presence.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 8298-8522 confidence: medium
The speaker says it is better to commune with the addressed Thou in taverns than to pray in mosques and fail to see the divine face; the Thou is called first and last and able to burn or cherish the speaker.
The speaker prefers tavern communion with the Deity to mosque prayer without seeing the divine face; the note identifies the addressee as the Deity.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 8524-8747 confidence: high
The speaker rejects the seventy-three creeds except loving the divine addressee; the note says forms of faith are indifferent and cites Gulshan i Raz.
The speaker says that among the seventy-three creeds he holds only the creed of loving the divine addressee, rendering faith, unfaith, obedience, and sin secondary.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 8524-8747 confidence: medium
The speaker rejects the importance of seventy-three creeds and holds only to loving 'Thee'; the note says forms of faith are indifferent and cites Gulshan i Raz.
The speaker says the many creeds are secondary to the creed of loving the addressed Thee, who is all that is needed.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 8978-9207 confidence: medium
The speaker vows for 'Thee' to cast repute away and bear penalty or cruelty until judgment-day.
The speaker vows to cast away repute for 'Thee' and bear the addressee's cruelty or penalty until judgment-day.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 9428-9661 confidence: high
An enchanting idol gives the speaker a cup; when the speaker refuses, the idol urges him to drink to gratify the idol's heart.
A beloved offers a cup, the Cupbearer pours wine of love, and the note glosses the wine as life or existence poured by the Deity.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 9428-9661 confidence: medium
An idol beloved of the speaker gives him a cup, and when he refuses, urges him to drink to gratify the idol's heart.
The idol gives a cup, the Cupbearer pours wine of love, and an editorial note glosses this as the wine of life or existence poured by Deity at creation.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 9902-10130 confidence: high
“You lose yourself, but find your Self”; drinking “His entrancing cup” hastens escape. The note glosses: “Die to self, to live in God.”
The heart loses itself and finds its Self through the Loved One's sweets and cup; the note glosses this as dying to self to live in God.
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The Sufistic Quatrains of Omar Khayyam E.H. WHINFIELD, M.A. / INTRODUCTION / E.H. WHINFIELD / QUATRAINS OF OMAR KHAYYAM; lines 9902-10130 confidence: high
The heart is told that feeding on the Loved One's sweets makes it lose itself and find its Self, and that drinking His cup hastens escape from quick and dead. The note glosses this as dying to self to live in God.
The heart loses itself while feeding on the Loved One's sweets, finds its Self, and drinks the Loved One's entrancing cup; the note glosses this as dying to self to live in God.
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The Sufistic Quatrains of Omar Khayyam LXXII. / LXXIII. / LXXV. / LXXVI.; lines 3814-3828 confidence: medium
“Since Eternity itself was He created me, / From the first he dictated to me the lesson of love, / At that time a small filing of the dust of my heart, / He made into a key of the treasure-house of substance.”
The cited parallel says that from the first an unnamed “He” dictated the lesson of love to the speaker.
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The Sufistic Quatrains of Omar Khayyam LXXII. / LXXIII. / LXXV. / LXXVI.; lines 3814-3828 confidence: medium
The cited parallel says that since eternity 'He' created the speaker, taught the lesson of love, and made a filing of the dust of the speaker's heart into a key of the treasure-house of substance.
The cited parallel states that from the first the speaker was dictated the lesson of love.
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The Sufistic Quatrains of Omar Khayyam LXXIII. / LXXV. / LXXVI. / LXXVII.; lines 3831-3898 confidence: high
"One Flash of It within the Tavern caught / Better than in the Temple lost outright."
The passage explicitly prefers mystery with Thee in a tavern and a flash of the True Light there over temple or Mihrab devotion without Thee.
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The Sufistic Quatrains of Omar Khayyam LXXIII. / LXXV. / LXXVI. / LXXVII.; lines 3831-3898 confidence: high
One flash of the True Light caught in the tavern is said to be better than being lost in the temple.
The passage states that speech of the mystery with the divine addressee in a tavern is better than devotion at the Mihrab without the addressee.
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The Sufistic Quatrains of Omar Khayyam MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM / FOOTNOTES:; lines 15304-15431 confidence: medium
A note to Quatrain 234 says tender and sensual expressions may refer to divine love or the Divinity, but that this reading is disputed and causes embarrassment among some Persian religious and lay readers.
The note says that terms of tenderness and sensual images in Khayyam may render thoughts on divine love and the Divinity.
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The Sufistic Quatrains of Omar Khayyam MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM / FOOTNOTES:; lines 15304-15431 confidence: high
A note to Quatrain 234 says tenderness terms and sensual images in Khayyam can be read as referring to Divinity, though the reading is disputed and embarrassing to some Persian readers.
The note states that tenderness terms and sensual images in Khayyam may be understood as referring to Divinity, though this is disputed.
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The Sufistic Quatrains of Omar Khayyam OF THE / QUATRAINS OF OMAR KHAYYAM / OMAR KHAYYAM / ASTRONOMER-POET OF PERSIA; lines 811-891 confidence: medium
M. Nicolas does not consider Omar a material Epicurean, but a Mystic who shadows Deity under figures such as wine and wine-bearer, like Hafiz is supposed to do.
M. Nicolas interprets Omar as a Mystic who shadows Deity under wine and wine-bearer, as Hafiz is supposed to do.
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The Sufistic Quatrains of Omar Khayyam OF THE / QUATRAINS OF OMAR KHAYYAM / OMAR KHAYYAM / ASTRONOMER-POET OF PERSIA; lines 811-891 confidence: medium
M. Nicolas published an edition and translation, and reads Omar not as a material Epicurean but as a Mystic shadowing Deity under figures of wine and wine-bearer, like Hafiz.
M. Nicolas is reported as reading wine and wine-bearer as figures under which Deity is shadowed, similar to Hafiz.
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The Sufistic Quatrains of Omar Khayyam OF THE / QUATRAINS OF OMAR KHAYYAM / OMAR KHAYYAM / ASTRONOMER-POET OF PERSIA; lines 893-966 confidence: medium
The passage says the editor never wholly believed in Hafiz's mysticism; it describes Jelaluddin, Jami, Attar, and others as singing Sufi Pantheism and using wine and beauty as images to illustrate Divinity; it warns that identifying the abstract with the sensual image is hazardous.
The passage says wine and beauty can function as images illustrating Divinity, and that some may interpret Omar's wine and cup-bearer in this way.
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The Sufistic Quatrains of Omar Khayyam OF THE / QUATRAINS OF OMAR KHAYYAM / OMAR KHAYYAM / ASTRONOMER-POET OF PERSIA; lines 893-966 confidence: medium
"Jelaluddin, Jami, Attar, and others sang; using wine and beauty indeed as images to illustrate, not as a mask to hide, the Divinity they were celebrating."
Wine and beauty are said to be used by named Persian poets as images to illustrate Divinity, and the passage discusses the risks of identifying the abstract with the sensual image.
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The Sufistic Quatrains of Omar Khayyam OMAR KHAYYAM / STANZA / STANZA / STANZA; lines 4769-4818 confidence: medium
“And drink; and that impassive Lip I kiss'd.”
The tulip raises a chalice or cup for heavenly vintage or wine, and other lines focus on drinking, lip, and cup imagery.
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The Sufistic Quatrains of Omar Khayyam PUBLISHER / ILLUSTRATIONS / TABLE OF CONTENTS / GENERAL INTRODUCTION; lines 371-459 confidence: medium
The sweetheart or Beloved means the preceptor; the Dervish beholds secret knowledge of God in the preceptor's heart and rejoices in the beloved preceptor's company.
The sweetheart or Beloved is glossed as the preceptor, whose heart contains secret knowledge of God and whose company gives the Dervish spiritual joy.
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The Sufistic Quatrains of Omar Khayyam PUBLISHER / ILLUSTRATIONS / TABLE OF CONTENTS / GENERAL INTRODUCTION; lines 371-459 confidence: medium
The sweetheart or Beloved means the preceptor; as a lover delights in the sweetheart, the Dervish rejoices in the company of the beloved preceptor, who commands spiritual attachment.
The sweetheart or Beloved is explained as the preceptor, and the lover’s delight is compared with the Dervish’s joy in the beloved preceptor’s company.
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The Sufistic Quatrains of Omar Khayyam PUBLISHER / ILLUSTRATIONS / TABLE OF CONTENTS / GENERAL INTRODUCTION; lines 461-559 confidence: medium
The beloved's curls, moles, and brow furrows are interpreted as signs of the preceptor's praises, detachment, and heart-light, influencing the Dervish-pupil.
The beloved's physical traits are interpreted as signs of the preceptor's praises, detachment, and heart-light that affect the Dervish-pupil.
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The Sufistic Quatrains of Omar Khayyam PUBLISHER / ILLUSTRATIONS / TABLE OF CONTENTS / GENERAL INTRODUCTION; lines 461-559 confidence: medium
The curls or ringlets of the beloved are explained as the preceptor’s grateful praises, binding the affections of the Dervish-pupil.
The passage explicitly interprets the beloved’s bodily features as Sufistic signs referring to the preceptor and the disciple’s spiritual attachment and renunciation.
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The Sufistic Quatrains of Omar Khayyam PUBLISHER / ILLUSTRATIONS / TABLE OF CONTENTS / GENERAL INTRODUCTION; lines 561-608 confidence: medium
Omar is said to teach knowledge of the unity of the soul with God, achieved by renouncing desire, purifying the soul from worldly lusts, and practicing kindliness, goodness, universal sympathy, and patience.
The passage emphasizes knowledge of the unity of the soul with God as the one important thing.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11155-11347 confidence: medium
The speaker addresses a beloved or Idol as chosen by the heart and dearer than life; the addressee is associated with a raised veil, swift arrival, wind, and fire of absence.
The addressed beloved or Idol is called the chosen object of the heart and more precious than soul, eyes, and life.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11155-11347 confidence: medium
"O Thou who in the universe art the object chosen of my heart!"
The addressed beloved is called the chosen object of the heart and more precious than life; a veil hides and then reveals the figure.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11349-11537 confidence: medium
The capitalized addressee's absence alone can bruise deeply; no one acute is free from the addressee's charms, and all may be preoccupied with the addressee.
The capitalized addressee's absence is the thing that bruises deeply, and everyone may be preoccupied with that addressee.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11349-11537 confidence: medium
The speaker says nothing except Thy absence can deeply bruise; anyone may be preoccupied with Thee, though Thy mind cares for no one.
The addressed Thou is absent, wounding, charming, and universally preoccupying.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11539-11731 confidence: medium
The speaker says he has long searched the inconstant world and found the moon pale before the addressee's visage and the cypress deformed beside the addressee's form.
The addressee's beauty exceeds moon and cypress; the speaker identifies as an idolater of love and calls for the Beloved at death; an Idol is questioned for taking life.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11539-11731 confidence: medium
After long searching in the inconstant world, the speaker finds the moon pales before the addressee's visage and the cypress is deformed beside the addressee's form.
The addressed figure's visage outshines the moon and the figure's form surpasses the cypress; the Beloved is also invoked at death.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11539-11731 confidence: high
In mosque, medresseh, church, and synagogue people fear Hell and seek Paradise; such disquiet does not germinate in those who penetrate the All-Powerful's secrets.
Fear of Hell and hope for Paradise are contrasted with those who know divine secrets or are illumined by love; the speaker says Hell and Paradise are one to him and argues that Paradise would be empty if lovers of beauty and the cup were damned.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11937-12126 confidence: medium
The speaker says not to impute human good and bad to the wheel of the heavens; the wheel is embarrassed in divine love, and no shield can withstand Destiny's arrow.
The wheel of heaven is said to be embarrassed in the path of divine love, and careless people are told to seek a friend identified as God.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 11937-12126 confidence: medium
The addressee is told not to impute all human good and bad to the wheel of the heavens, which is itself more embarrassed in the path of divine love.
The passage refers to the path of divine love and instructs careless people to seek a friend glossed as God.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12325-12516 confidence: medium
The speaker says the friend, glossed as God, pours wine that rejoices the soul, and asks how he can renounce drinking if God has not ordered it.
God is named as friend pouring wine for the speaker, cupbearer of eternity, and divine addressee asked for pardon.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12325-12516 confidence: medium
A rose-cheeked charmer held to the heart brings the thorn's sting; a comb must be cut into many teeth before caressing perfumed hair.
The rose-cheeked charmer is paired with thorn-sting, and the comb must be cut into teeth before touching perfumed hair.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12325-12516 confidence: medium
The friend, glossed as God, pours wine that rejoices the speaker’s soul; the speaker asks how he can renounce drinking without God ordering it.
God is glossed as the friend who pours wine for the speaker and as the cupbearer of eternity.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12518-12709 confidence: medium
The addressee is told to drink wine before the name vanishes; wine entering the heart removes sorrow, and the idol's hair is to be unbound before the body's joints loosen.
The passage addresses an idol, describes attraction to beautiful faces, states the mistress longs for the speaker, and elsewhere contrasts distance from God.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12518-12709 confidence: low
The speaker urges drinking wine before one's name vanishes, unbinding the idol's hair before the bodily frame loosens, and says one is not gold to be drawn again from burial in earth.
The speaker addresses an idol or mistress and says a mountain separates them, which he expects to surmount before taking the cup.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12711-12911 confidence: high
Claims of last-day judgment and divine anger are answered by saying pure goodness gives only goodness and that God will finally appear gentle.
The last day, judgment, anger, Hell, divine goodness, gentleness, pity, and God as dear Friend are all explicitly invoked.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12711-12911 confidence: high
People say the last day will bring judgments and God's anger, but the speaker replies that pure goodness yields goodness and that God is gentle.
Last-day judgment, divine anger, Hell, goodness, gentleness, pity, and God as Friend are all invoked.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12913-13101 confidence: medium
The addressed Thou is sought by all, but dervish and rich lack means to reach Thee; all say the name while deaf and see the presence while blind.
The addressed Thou is the object of a quest that holds all in distress, yet neither dervish nor rich can reach Thee; Thee is named and present but not truly heard or seen.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 12913-13101 confidence: high
The divine Thou is the object of a distressing quest; dervish and rich lack means to reach Thee; all speak the name but are deaf, and all see the presence but are blind.
The divine Thou is the object of a quest that renders all distressed; both dervish and rich lack means of reaching the divine despite universal speech and sight.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13103-13293 confidence: medium
The speaker addresses the ruler of the universe and says wine rejoices the soul on every day of the week.
The passage repeatedly joins wine imagery with address to the Creator or divine Thou and states that being with Thou in the tavern is better than praying without Thou in the mosque.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13103-13293 confidence: medium
The speaker addresses the ruler of the universe and says wine rejoices the soul on every day of the week.
The speaker prefers being with Thou in the tavern to prayer without Thou in the mosque and repeatedly links wine with secret speech, delight, and attainment.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13103-13293 confidence: medium
The speaker says it is better to be with Thou in the tavern and tell secret thoughts than to pray without Thou in the mosque; the addressee is called Creator of all that was and is.
The addressed Thou is linked with enticing charm, prohibition against looking, tavern companionship, divine creation, burning, favor, and hidden knowledge.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13295-13484 confidence: high
The speaker says creeds divide humanity into about seventy-two sects; among them he chooses 'Thy love' and says his true aim is to seek Thee beyond impiety, Islamism, creed, or sin.
The speaker rejects sectarian labels and says his true aim is to seek Thee; another quatrain describes the beauty captivating his soul and love at its flame.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13295-13484 confidence: medium
The speaker says humanity is divided into about seventy-two sects, but he has chosen the dogma of divine love and seeks 'Thee' beyond labels of creed, sin, impiety, or Islamism.
The speaker rejects sectarian divisions and labels in favor of seeking 'Thee' and choosing the dogma of divine love.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13680-13861 confidence: low
The speaker says the world is not a permanent sojourn, urges not depriving oneself of wine and the beloved's favors, and dismisses debates over creation or eternity after his death.
The passage links the beloved with desired favors and with a love for which the speaker accepts blame, penalty, and prolonged torment.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13680-13861 confidence: medium
The speaker tells the beloved he is ready to undergo blame and penalty for love and would endure the beloved's torment until the last day.
The speaker addresses a beloved, accepts blame and penalty for love, and says even torment until the last day would feel too short.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 13863-14050 confidence: medium
The passage warns a worldly person to consider the terrible day and last breath, urges taking wine from the eternal cupbearer to be freed from cares, describes an endless circular walk and two classes of men, and prays for relief from worldly vicissitudes.
The addressee is told to take wine from the hand of the eternal cupbearer, and this act frees him from worldly and otherworldly cares.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14052-14243 confidence: high
In the tavern, the object of the speaker's heart, glossed as God, presents a cup and tells the speaker to drink for love.
The beloved or friend is explicitly glossed as God or Divinity and is connected to offering the cup, justifying wine, and being the object of passion.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14052-14243 confidence: high
In the tavern, the object of the speaker's heart, glossed as God, presents a cup and tells the speaker to drink for love.
The beloved, friend, or mistress is explicitly glossed as God/Divinity in several places and is linked with the face, cup, wine, and love.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14245-14433 confidence: medium
An addressed figure's lips are said to secrete the water of life; the speaker objects to the cup kissing them and speaks of being soaked in the blood of the flask.
An addressed figure's lips produce the water of life, and related stanzas invoke the Charm of the Heart, ruby lips, tresses, and a sweet-lipped friend.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14245-14433 confidence: medium
The beloved's lips are said to secrete the water of life; the cup is imagined as daring to touch them; beautiful idol-like beings are said to have become cups and gourds many times.
The addressed beloved-like figure has lips that secrete the water of life, and the speaker treats contact with those lips as precious.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14435-14622 confidence: high
The speaker redirects Khayyam from mosque, prayer, and fasting to tavern and wine; human earth is said to become cups, bowls, and pitchers, and dust is imagined falling on the tavern sill saturated with wine.
The passage repeatedly links wine, tavern, lovers, the cup of His love, and wine of love with release from pain, reason, and moral categories.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14435-14622 confidence: high
The group is reunited among lovers, freed from the pain of time, and tranquil after emptying the cup of His love and being overcome with wine.
The passage joins the cup of His love, wine of love, banquet of the Divinity, and wine of annihilation with freedom, tranquility, and separation from ordinary categories of being.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14624-14819 confidence: high
The heart is told to drink wine in a garden, enjoy the friend identified as the Divinity, renounce hypocrisy, and draw a cup from the fountain-head for Ali to serve.
The friend is identified in brackets as the Divinity, and the heart is told to enjoy the friend’s presence in the garden with wine.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14624-14819 confidence: medium
The heart is urged to drink wine in a garden with the friend glossed as the Divinity; the cup is drawn from the fountain-head and served by Ali as cupbearer.
The friend in the garden is explicitly glossed as the Divinity, and a beautiful moonlike friend is praised.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14821-15012 confidence: medium
The addressee is told to follow the Kalendar, seek the tavern, occupy himself with wine, song, and the friend [the Divinity], hold a cup, carry a gourd, drink, and avoid foolish talk.
The friend is included among the central pursuits of the Kalendar's way and is explicitly bracketed as the Divinity.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 14821-15012 confidence: medium
The cupbearer is addressed in relation to arguments, earth and wind, harp, wine, Yassin, Berat, and a treatise on the tavern.
The speaker directs the hearer toward the Kalendar's way, the tavern, wine, song, and the friend glossed as the Divinity; the cupbearer mediates repeated requests for wine.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 15014-15203 confidence: high
The speaker addresses Thou as disposer of the lot of the living and dead and governor of the Wheel of the Heavens, calls himself Thy slave and Thou his master, and asks about guilt under the Creator of all.
The addressed Thou is called master, creator, hidden and revealed in creation, and the well-beloved Divinity; the speaker cannot find a means to join Thee and cannot bear separation.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 15014-15203 confidence: medium
The cupbearer is told there is wine; the speakers rejoice in the presence of the well-beloved identified as the Divinity, do not offer the renunciation of Nessouh, mention the story of Noe, and ask for wine as the repose of the soul.
The cupbearer is told that the speakers rejoice with wine in the presence of the well-beloved Divinity and do not offer the renunciation of Nessouh.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / MONSIEUR J.B. NICOLAS / THE QUATRAINS OF KHAYYAM / THE QUATRAINS OF OMAR KHAYYAM; lines 15014-15203 confidence: high
The speaker says he has broken the bonds of vows, contrasts this with breaking a pitcher of wine, and asks the cupbearer to rejoice in the presence of the well-beloved, glossed as Divinity, and to bring wine as the repose of the soul; Noe is mentioned.
The speaker seeks union with “Thee,” cannot live separated from “Thee,” and names the well-beloved as the Divinity.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / TRANSLATED BY / E.H. WHINFIELD, M.A. / INTRODUCTION; lines 5260-5365 confidence: medium
"Love-poems on the sorrows of separation and the joys of reunion with the Beloved, earthly or spiritual."
The third class describes love poems on the sorrows of separation and joys of reunion with the Beloved, who may be earthly or spiritual.
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The Sufistic Quatrains of Omar Khayyam QUATRAINS OF OMAR KHAYYAM / TRANSLATED BY / E.H. WHINFIELD, M.A. / INTRODUCTION; lines 5260-5365 confidence: medium
Omar's quatrains are classified under six headings: fate and worldly complaint; satire; love-poems of separation and reunion with the Beloved; praise of spring, gardens, and flowers; antinomian utterances about sin, Paradise, Hell, wine, and pleasure; and addresses to the Deity seeking pardon, deliverance from self, and union with Truth.
One subject class is explicitly described as love-poems on the sorrows of separation and joys of reunion with the Beloved, who may be earthly or spiritual.
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The Sufistic Quatrains of Omar Khayyam VARIATIONS / OMAR KHAYYAM / STANZA / STANZA; lines 4710-4767 confidence: medium
“Here with a little Bread beneath the Bough, / A Flask of Wine, a Book of Verse--and Thou”
The passage includes an addressed Thou and a “THEE IN ME” working behind the Veil of Universe.
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The Sufistic Quatrains of Omar Khayyam XLII. / XLIII. / XLIV. / XLVIII.; lines 3226-3404 confidence: medium
LV says the speaker made a second marriage, divorced old barren Reason from his bed, and took the Daughter of the Vine as spouse.
The speaker says he divorced barren Reason and took the Daughter of the Vine as spouse in a second marriage.
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The Sufistic Quatrains of Omar Khayyam XXVIII. / XXIX. / XXXI. / XXXII.; lines 2843-2895 confidence: medium
The quatrain says Earth cannot answer, nor the seas mourning in purple and forlorn of their Lord, nor rolling Heaven with signs revealed and hidden by Night and Morn.
The seas mourn their Lord, and the Attar story’s sea says it weeps because of separation from the Friend.
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The Sufistic Quatrains of Omar Khayyam XXVIII. / XXIX. / XXXI. / XXXII.; lines 2843-2895 confidence: high
“Earth could not answer; nor the seas that mourn ... Nor rolling Heaven, with all his Signs reveal'd / And hidden by the sleeve of Night and Morn.”
The sea is described as forlorn of its Lord and states that it weeps because of separation from the Friend.
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Aeschylus' Prometheus Bound and the Seven Against Thebes INTRODUCTION. / PROMETHEUS CHAINED. / PERSONS REPRESENTED. / STRENGTH, FORCE, VULCAN, PROMETHEUS.; lines 1126-1232 confidence: medium
The Chorus says equal marriage is best, prays not to share Jupiter's couch or be joined to heavenly bridegrooms, and fears divine love after seeing Io marred by Juno's hand and wanderings.
The Chorus fears divine love because Io, associated with Jupiter, is greatly marred by Juno's hand and wearisome wanderings.
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Aeschylus' Prometheus Bound and the Seven Against Thebes INTRODUCTION. / PROMETHEUS CHAINED. / PERSONS REPRESENTED. / STRENGTH, FORCE, VULCAN, PROMETHEUS.; lines 913-1008 confidence: high
Nightly visions tell Io that Jupiter is moved by desire for her and urge her not to spurn Jupiter's couch but to go to Lerna and her father's cattle enclosures.
The dreams say Jupiter desires Io, and Prometheus says the god lusted for the mortal woman and cast wanderings on her.
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Aeschylus' Prometheus Bound and the Seven Against Thebes THEODORE ALOIS BUCKLEY, B.A. / WITH AN INTRODUCTION BY / EDWARD BROOKS, JR. / INTRODUCTION.; lines 66-186 confidence: high
Io, daughter of Inachus and beloved by Jove, is forced by Juno's jealous hatred to wander and asks Prometheus to reveal the limit of her suffering.
Io is beloved by Jove but forced by Juno's jealous hatred to wander many lands and seas.
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Hesiod, the Homeric Hymns, and Homerica ENDNOTES / PREPARERS NOTE / PREFACE / INTRODUCTION; lines 1010-1106 confidence: high
The Hymn to Aphrodite shows a divine being as an unwilling victim of irresistible force; Aphrodite's power affects creatures and gods except Artemis, Athena, and Hestia; Zeus causes her to love Anchises and she visits him on Mt. Ida.
Zeus humbles Aphrodite by causing her to love the mortal Anchises.
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Hesiod, the Homeric Hymns, and Homerica ENDNOTES / PREPARERS NOTE / PREFACE / INTRODUCTION; lines 1010-1106 confidence: high
Summary and evaluation of the Hymn to Aphrodite: Aphrodite as unwilling victim of irresistible force, gods and creatures subject to her except Artemis, Athena, and Hestia, Zeus causing her to love Anchises, her visit to Mt. Ida, and comparison with the Lay of Demodocus.
Zeus humbles Aphrodite's pride by causing her to love the mortal Anchises, and the passage emphasizes her humiliation and grief.
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Hesiod, the Homeric Hymns, and Homerica ENDNOTES / PREPARERS NOTE / PREFACE / INTRODUCTION; lines 531-624 confidence: high
The Theogony's conclusion links to the Catalogues of Women, which trace Hellenic families from a common ancestor; women are prominent because descent from gods is traced through mortal women beloved by gods.
The Catalogues are described as tracing descent through mortal women beloved by gods; Tyro bearing sons to Poseidon is one example.
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Hesiod, the Homeric Hymns, and Homerica ENDNOTES / PREPARERS NOTE / PREFACE / INTRODUCTION; lines 626-712 confidence: high
The Eoiae title is explained through a formula asking the Muses to sing of tribes of women with whom the Sons of Heaven were joined in love, with heroines introduced by a recurring formula.
The passage describes women with whom the Sons of Heaven were joined in love and the Great Eoiae as a list of heroines who bore children to gods.
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Hesiod, the Homeric Hymns, and Homerica ENDNOTES / PREPARERS NOTE / PREFACE / INTRODUCTION; lines 626-712 confidence: high
"ye Muses, sing of the tribes of women with whom the Sons of Heaven were joined in love"; each heroine was introduced by a formula such as "Or such as was..."
The passage describes women with whom the Sons of Heaven were joined in love and the Great Eoiae as listing heroines who bore children to the gods.
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Hesiod, the Homeric Hymns, and Homerica I. TO DIONYSUS 2501 / II. TO DEMETER / III. TO DELIAN APOLLO / TO PYTHIAN APOLLO; lines 5810-5905 confidence: low
The narrator proposes singing of Apollo as wooer or of his first journey over the earth seeking an oracle place, then lists his route from Olympus through several regions and rejected sites.
The narrator asks whether to sing of Apollo as wooer and names several associated figures before the passage turns to the oracle-site journey.
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Hesiod, the Homeric Hymns, and Homerica II. 1745 / THE SHIELD OF HERACLES / THE MARRIAGE OF CEYX / THE GREAT EOIAE; lines 4786-4884 confidence: high
Fragments report marriages and divine unions, including Thero with Apollo bearing Chaeron and Mecionice with Poseidon bearing Euphemus.
Thero lies in Apollo's embrace and bears Chaeron; Mecionice is joined with Poseidon and bears Euphemus; Apollo also loves Hymenaeus.
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Hesiod, the Homeric Hymns, and Homerica II. TO DEMETER / III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES; lines 6148-6247 confidence: medium
Hermes is invoked as son of Zeus and Maia, messenger of the immortals; Maia lives in a deep, shady cave where Zeus visits her secretly at night while Hera sleeps.
Zeus secretly lies with Maia in her deep, shady cave at night, and Maia bears Hermes.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6702-6799 confidence: high
Zeus casts sweet desire for a mortal man upon Aphrodite so she will not remain innocent of mortal love or mock the gods for mortal unions.
Zeus places desire for mortal Anchises into Aphrodite, and Aphrodite sees him, loves him, and is seized with desire.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6702-6799 confidence: high
Zeus casts sweet desire upon Aphrodite to be joined with a mortal man so that she cannot mock divine-mortal unions among the gods.
Zeus casts desire upon Aphrodite for Anchises, a mortal cattle-tender on Ida, and Aphrodite loves him when she sees him.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6801-6888 confidence: high
Aphrodite places desire in Anchises' heart; Anchises says no god or mortal shall restrain him from lying with her and that he would willingly go down to Hades after reaching her bed.
The passage centers on Aphrodite, an immortal goddess, causing desire in and lying with Anchises, a mortal man.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6801-6888 confidence: high
Aphrodite says she is mortal, names Otreus as father, says a Trojan nurse reared her, claims Hermes took her from Artemis' dance across inhabited and wild lands to become Anchises' wife and bear children, and requests family recognition, bride-gifts, and honorable marriage.
Aphrodite presents herself as a mortal maiden destined for Anchises, while later narration and her revealed form identify her as a goddess.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6801-6888 confidence: high
Aphrodite says she is mortal, names Otreus as father, says a Trojan nurse reared her, claims Hermes took her from Artemis' dance across inhabited and wild lands to become Anchises' wife and bear children, and requests family recognition, bride-gifts, and honorable marriage.
Anchises, a mortal man, lies with Aphrodite, an immortal goddess, after marriage language and bridal requests are introduced in her speech.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6890-6966 confidence: high
Zeus carries off Ganymedes because of beauty to pour drink for the gods; Tros mourns until Zeus gives him immortal horses and Hermes explains Ganymedes will be deathless and unageing.
Ganymedes is carried off by Zeus because of beauty, and Tithonus is carried off by Eos; both are mortals drawn into divine settings.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6890-6966 confidence: medium
Eos carries off Tithonus and asks Zeus for eternal life, but not youth; Tithonus ages, loses bodily strength, and is placed in a room behind shining doors where he babbles endlessly.
Eos secures eternal life for Tithonus but forgets to ask for youth, producing endless old age rather than blessed immortality.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6890-6966 confidence: high
Zeus carries off beautiful Ganymedes to pour nectar for the gods; Tros mourns until Zeus gives him immortal horses and Hermes reports that Ganymedes is deathless and unageing.
Zeus carries off Ganymedes because of his beauty, and Eos rapt away Tithonus.
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Hesiod, the Homeric Hymns, and Homerica III. TO DELIAN APOLLO / TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE; lines 6890-6966 confidence: high
The speaker says she will have shame among the gods because she once made immortals mate with mortal women but has now herself conceived a child after mating with a mortal man.
Aphrodite says she mated with a mortal man and conceived a child, then instructs the father to conceal her identity as mother.
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Hesiod, the Homeric Hymns, and Homerica THE CERCOPES / THE BATTLE OF FROGS AND MICE / OF THE ORIGIN OF HOMER AND HESIOD, AND OF THEIR CONTEST / ENDNOTES; lines 9789-9933 confidence: medium
Aphrodite claims Anchises’ race is almost divine, as shown by Ganymedes and Tithonus, to lessen her disgrace.
Aphrodite invokes the almost divine status of Anchises’ race and names Ganymedes and Tithonus as examples.
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Hesiod, the Homeric Hymns, and Homerica THE CERCOPES / THE BATTLE OF FROGS AND MICE / OF THE ORIGIN OF HOMER AND HESIOD, AND OF THEIR CONTEST / ENDNOTES; lines 9789-9933 confidence: medium
Aphrodite claims Anchises' race is almost divine, as shown by Ganymedes and Tithonus.
Aphrodite claims Anchises' race is almost divine and cites Ganymedes and Tithonus.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3421-3527 confidence: medium
Pandora, daughter of Deucalion, is joined with Zeus and bears Graecus.
Pandora, Thyia, Eurynome, Iphimedea, and Tyro are connected with Zeus or Poseidon as fathers of named children.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3421-3527 confidence: high
Latins and Greeks are connected with Latinus and Graecus; Pandora, daughter of Deucalion, is joined with Zeus and bears Graecus.
Multiple mortal women bear children to Zeus or Poseidon, including Graecus, Magnes, Macedon, the Aloiadae, Bellerophon, the joined twins, and Tyro's sons.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3529-3639 confidence: high
Europa crosses the briny water to Crete, beguiled by Zeus; Zeus secretly snatches her, gives her a golden necklace made by Hephaestus, mates with her, departs, and she bears Minos, Rhadamanthys, and Sarpedon.
Europa is beguiled or deceived by Zeus, secretly snatched or carried over the sea to Crete, and becomes his sexual partner.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3529-3639 confidence: high
Europa crosses the briny water from afar to Crete, beguiled by Zeus' wiles; the Father secretly snatches her away.
Zeus beguiles and secretly snatches Europa, taking her across the briny water to Crete, where he mates with her.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3529-3639 confidence: high
The scholion says Zeus sees Europa gathering flowers with nymphs, changes into a bull, breathes a crocus, deceives and carries her over the sea to Crete, mates with her, and fathers Minos, Sarpedon, and Rhadamanthys; it adds that the tale is in Hesiod and Bacchylides.
The scholion says Zeus changes into a bull, deceives Europa, and carries her over the sea to Crete.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3770-3893 confidence: high
Peleus arrives at Phthia with possessions and is praised as blessed because Zeus has given him a Nereid wife and the gods have brought the marriage to completion, honoring him above other men.
Peleus is praised because Zeus has given him a Nereid wife and the blessed gods have brought the marriage to completion.
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Hesiod, the Homeric Hymns, and Homerica THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701; lines 3895-4021 confidence: medium
Scholiast on Pindar reports alternate mothers for Asclepius; Asclepiades says Arsinoe, daughter of Leucippus, had Asclepius and Eriopis with Apollo, and a fragment says Arsinoe joined with the son of Zeus and Leto and bore Asclepius.
Arsinoe is described as subject in love to Phoebus and joined with Apollo; the daughter of Ocean shares embraces involving Zeus and Tyndareus.
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Hesiod, the Homeric Hymns, and Homerica THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701 / II. 1745; lines 4158-4264 confidence: medium
Apollo loved Ileus, named him by his name, joined with a nymph in sweet love, and with Poseidon raised a city wall.
Apollo loves Ileus and joins with a nymph; Cyrene bears Aristaeus to Apollo.
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Hesiod, the Homeric Hymns, and Homerica THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701 / II. 1745; lines 4266-4319 confidence: medium
After a lacuna, a woman is said to be subject in love to the dark-clouded son of Cronos and to bear famous Heracles.
Women are described as subject in love to Zeus, joined in love with Heracles, or subject to Zeus and bearing children.
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Hesiod, the Homeric Hymns, and Homerica THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701 / II. 1745; lines 4266-4319 confidence: medium
An eagle catches up Ganymede for Zeus because of his beauty; Diomede bears Hyacinthus, whom Phoebus unwittingly kills with a disk.
An eagle catches up Ganymede for Zeus because Ganymede rivals the immortals in beauty.
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Hesiod, the Homeric Hymns, and Homerica THE IDAEAN DACTYLS / THE THEOGONY / THE CATALOGUES OF WOMEN AND EOIAE1701 / II. 1745; lines 4266-4319 confidence: high
An eagle catches up Ganymede for Zeus because Ganymede rivals the immortals in beauty.
An eagle catches up Ganymede for Zeus because Ganymede rivals the immortals in beauty.
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Hesiod, the Homeric Hymns, and Homerica THE MARRIAGE OF CEYX / THE GREAT EOIAE / THE MELAMPODIA / AEGIMIUS; lines 4977-5022 confidence: high
Hesiod and Acusilaus identify Io as daughter of Peiren; while Hera's priestess she is seduced by Zeus, discovered by Hera, transformed by Zeus into a white cow, and connected with an oath about secret deeds of the Cyprian being without penalty.
Io is a priestess of Hera and Zeus seduces her.
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Hesiod, the Homeric Hymns, and Homerica THE MARRIAGE OF CEYX / THE GREAT EOIAE / THE MELAMPODIA / AEGIMIUS; lines 4977-5022 confidence: high
Io, daughter of Peiren and priestess of Hera, is seduced by Zeus; Hera discovers it; Zeus changes Io into a white cow, swears about the encounter, and ordains that certain oaths concerning secret love-deeds are without penalty.
Zeus seduces Io and, when discovered by Hera, touches her and changes her into a white cow.
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Hesiod, the Homeric Hymns, and Homerica THE PRECEPTS OF CHIRON / THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY; lines 2556-2655 confidence: medium
"Verily at the first Chaos came to be, but next wide-bosomed Earth"; Tartarus and Eros are also listed among the first beings.
Eros overcomes gods and humans, and Aphrodite's honors include love, sweet delight, and graciousness, with Desire accompanying her.
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Hesiod, the Homeric Hymns, and Homerica THE PRECEPTS OF CHIRON / THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY; lines 3293-3404 confidence: high
"deathless one who lay with mortal men and bare children like unto gods"
The passage explicitly announces goddesses who lay with mortal men and bore children like gods; examples include Demeter and Iasion, Thetis and Peleus, and Aphrodite and Anchises.
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Hesiod, the Homeric Hymns, and Homerica THE PRECEPTS OF CHIRON / THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY; lines 3293-3404 confidence: medium
Eos bears Memnon and other sons; Aphrodite seizes young Phaethon and makes him keeper of her shrine by night, a divine spirit.
Aphrodite seizes young Phaethon, catches him up, and makes him a keeper of her shrine by night and a divine spirit.
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Hesiod, the Homeric Hymns, and Homerica THE PRECEPTS OF CHIRON / THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY; lines 3406-3419 confidence: high
Circe, daughter of Helius, loves Odysseus and bears Agrius, Latinus, and Telegonus; Telegonus is brought forth by the will of golden Aphrodite.
The passage explicitly says immortal goddesses lay with mortal men and bore children like unto gods, with Circe and Calypso named as examples involving Odysseus.
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Hesiod, the Homeric Hymns, and Homerica THE PRECEPTS OF CHIRON / THE GREAT WORKS / THE IDAEAN DACTYLS / THE THEOGONY; lines 3406-3419 confidence: high
Circe, daughter of Helius and granddaughter of Hyperion, loves Odysseus, bears Agrius, Latinus, and Telegonus, and the named children are said to rule the Tyrenians in the holy islands; Telegonus' birth is linked to Aphrodite's will.
Circe and Calypso are each linked in love with Odysseus, and the passage explicitly groups the cases as immortal goddesses lying with mortal men.
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Hesiod, the Homeric Hymns, and Homerica THE STORY OF OEDIPUS / THE THEBAID / THE EPIGONI / THE CYPRIA; lines 7708-7815 confidence: medium
At the marriage of Peleus, Strife causes Hera, Athena, and Aphrodite to dispute who is fairest; Hermes brings them to Alexandrus on Mount Ida, and he chooses Aphrodite because of the promised marriage with Helen.
The passage includes the marriage of Peleus and Thetis, a divine wedding feast, and the fragment in which Zeus assigns Thetis to a mortal husband.
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Hesiod, the Homeric Hymns, and Homerica TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE / VI. TO APHRODITE; lines 6969-6988 confidence: high
After Aphrodite is fully decked, the Hours bring her to the gods; the gods welcome her, give her their hands, and each wishes to take her home as his wedded wife because of her beauty.
When Aphrodite is brought to the gods, each desires to lead her home as his wedded wife.
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Hesiod, the Homeric Hymns, and Homerica TO PYTHIAN APOLLO / IV. TO HERMES / V. TO APHRODITE / VI. TO APHRODITE; lines 6969-6988 confidence: high
The Hours bring Aphrodite to the gods, who welcome her, give her their hands, and each prays to take her home as his wedded wife because of her beauty.
The gods are amazed at Aphrodite’s beauty, and each prays to lead her home as his wedded wife.
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Hesiod, the Homeric Hymns, and Homerica XV. TO HERACLES THE LION-HEARTED / XVI. TO ASCLEPIUS / XVII. TO THE DIOSCURI / XVIII. TO HERMES; lines 7165-7180 confidence: medium
Maia avoids the blessed gods and lives in a shadowy cave; Zeus lies with her at night while Hera sleeps, and neither gods nor mortals know.
Maia, a shy goddess or nymph, lives apart in a shadowy cave where Zeus visits her secretly at night.
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Hesiod, the Homeric Hymns, and Homerica XV. TO HERACLES THE LION-HEARTED / XVI. TO ASCLEPIUS / XVII. TO THE DIOSCURI / XVIII. TO HERMES; lines 7165-7180 confidence: medium
The Son of Cronos lies with Maia at dead of night while Hera sleeps; neither a deathless god nor a mortal man knows it.
The Son of Cronos lies with Maia at dead of night while Hera sleeps, and no god or mortal knows.
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Hesiod, the Homeric Hymns, and Homerica XVI. TO ASCLEPIUS / XVII. TO THE DIOSCURI / XVIII. TO HERMES / XIX. TO PAN; lines 7183-7226 confidence: medium
The nymphs sing of the gods and especially Hermes, the swift messenger, who came to Arcadia, tended sheep for a mortal, desired the daughter of Dryops, and brought about their marriage.
Hermes is said to feel strong desire to wed the rich-tressed daughter of Dryops.
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Hesiod, the Homeric Hymns, and Homerica XXII. TO POSEIDON / XXIII. TO THE SON OF CRONOS, MOST HIGH / XXIV. TO HESTIA / XXV. TO THE MUSES AND APOLLO; lines 7271-7287 confidence: high
The speaker begins with the Muses, Apollo, and Zeus; singers and lyre players are through the Muses and Apollo, kings are from Zeus, and one loved by the Muses has sweet speech.
The passage says the person whom the Muses love is happy and has sweet-flowing speech.
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Hesiod, the Homeric Hymns, and Homerica XXIX. TO HESTIA / XXX. TO EARTH THE MOTHER OF ALL / XXXI. TO HELIOS / XXXII. TO SELENE; lines 7413-7433 confidence: medium
The Son of Cronos was joined with Selene in love; she conceived and bore Pandia, described as exceedingly lovely among the deathless gods.
Selene is joined in love with the Son of Cronos.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES. / GELLOUDES. / STRIGES.; lines 10586-10678 confidence: high
The boy tells the princess his adventure; she recognizes the river genius as her lover, is taken to him, marries the ox-headed man, and lives in his under-river palace.
The princess recognizes the river genius as her lover, marries him, and lives with him under the river; the author explicitly calls this a wedding of a mortal maid with a river-god.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals CHAPTER VII. / THE UNION OF GODS AND MEN. / FOOTNOTES: / GENERAL INDEX; lines 26902-27177 confidence: high
“Human sacrifice” is indexed with “a modern conception,” “as means of sending a wife to some god,” “long-continued in Ancient Greece,” a “modern story,” and “substitute for.”
The index explicitly lists marriage of men with deities, the Sacred Marriage, mimetic marriage in cults and Mysteries, and a wife sent to a god through human sacrifice.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN. / FOOTNOTES:; lines 25711-25916 confidence: medium
A Oneirocritica passage says that mingling with a god or goddess, or being sexually overcome by a god, signifies death for a sick person because the soul foresees divine meetings and unions when close to leaving the body.
The Oneirocritica citation links dream union with a god or goddess to the death of a sick person and to the soul nearing departure from the body.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals GENERAL INDEX 607-617 / INDEX OF GREEK WORDS AND PHRASES 618-620 / CHAPTER I. / INTRODUCTORY.; lines 519-603 confidence: medium
“Their gods were very near to those whom they favoured”; the passage says gods fought in human battles, guided wanderings, dined at human boards, took mortal consorts, and later spoke through oracles.
The gods are said to be near to favored humans, with communion possible, and to dine at human boards and take mortal consorts.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 3872-3959 confidence: medium
A king gives his eldest son a picture of the Mistress of earth and sea; the prince is dazzled and consults a witch to find and marry her.
The prince sees the picture of the Mistress, is captivated by her beauty, and undertakes a guided quest to find and marry her.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 4053-4137 confidence: high
The author states that the second Zacynthian story centers on a young prince seeking the Mistress in marriage and notes that similar bride-quest plots are common in Greek folk-tales.
The passage explicitly groups modern stories in which a young prince or mortal lover seeks or wins the Mistress, Demeter, or Persephone in marriage.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 4802-4896 confidence: medium
An 1858 Attic peasant story features a very beautiful queen named Aphrodite with a castle at Daphni, ownership of Acro-Corinth, and two kings who seek her hand.
Queen Aphrodite is desired by two kings and makes marriage depend on completing assigned works, walls and a well.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 5370-5466 confidence: medium
Marriages of men with Nereids are common folk-story themes and still credible in remote districts; families may claim Nereid ancestry, and a Thessalian peasant claimed a Nereid-grandmother with local prestige.
The passage states that marriages of men with Nereids form many folk-stories and also reports a long-term love relationship with a cave-dwelling Nereid.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 5370-5466 confidence: medium
A Scopelos shepherd told of a tamed wild goat on Ioura that strayed to the area of a Nereid-haunted cave, became thin, and was believed to love a Nereid.
A wild goat was believed to have fallen in love with a Nereid at a haunted cave and wasted away from unrequited love.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 5370-5466 confidence: medium
A recent report describes an illicit lifelong intimacy between a man with a human wife and family and a Nereid in a nearby cave, who was said to enrich his land and protect his flocks.
A cave-dwelling Nereid is reported to love a man, enrich his land’s produce, and shield his flocks from pestilence.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 6682-6778 confidence: medium
The boatman’s ‘Queen of the Shore’ is described as a beautiful being standing in the shallows, sweet-voiced, enticing the unwary to the depths of the sea, and identified by the author with the Lamia of the Sea or Shore.
The Lamia or Queen of the Shore entices unwary men with beauty, sweet voice, marriage promises, and entry into the sea; refusal brings death and consent is said by the author to imply drowning.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals INTRODUCTORY. / FOOTNOTES: / CHAPTER II. / THE SURVIVAL OF PAGAN DEITIES.; lines 6780-6873 confidence: medium
The word Lamia is said to survive with local by-forms; classical tradition makes Lamia a Libyan queen loved by Zeus, bereaved by Hera, dwelling in a lonely cavern, transformed into a monster, and stealing and killing children.
The classical Lamia is loved by Zeus, arouses Hera's resentment, loses her children, and becomes a child-killing monster.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 23451-23533 confidence: high
The passage says Hellenic religion imagined death-sleep as a way to closer communion with gods: the grave is a bridal bed, the tomb darkness a wedding-night, and full union with the gods the consummation of earthly communion.
The passage says the grave is a bridal bed, the tomb darkness a wedding-night, and the marriage of men with gods the ideal of Greek piety.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 23535-23613 confidence: high
Greek religion is described as having no founder; Orpheus and Pythagoras influenced religious thought without founding new religions, and the future-life marriage ideal is framed as a popular development rather than an invented doctrine.
The passage explicitly mentions nuptial union between gods and mortal women, goddesses and mortal men, and an ideal of future-life marriage between men and gods.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24043-24126 confidence: high
The author connects the conception of death to ancient Greek religious aspirations: pious servants of the gods might hope for wedlock-like union with gods after death, supported by belief in communion with gods and corporeal existence after dissolution.
The passage says pious humans might hope for wedlock-like union with gods in the hereafter and describes a literal dream of being wedded, body and soul, with deities.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24178-24258 confidence: high
Diogenes is reported as mocking the idea that “by virtue of this rite the publicans will share with the gods the good things of Hades' house,” while Agesilaus and Epaminondas “lie in filth.”
The passage states that the blessed are god-beloved, share the good things of the next world with gods, and enter close communion with gods who love them.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24260-24326 confidence: high
The final stage is named as bliss arising from earlier stages: being "god-beloved and sharing the life of gods."
The promised culmination is described as being god-beloved and sharing the life of gods.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24328-24414 confidence: high
The mass of Greek people are said to have sought close communion with gods; the mysteries might provide a means and pledge of next-world communion, described as the union of wedlock.
The passage identifies marriage of men with gods as a proposed main idea of the mysteries and describes postmortem communion with gods as the union of wedlock.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24416-24481 confidence: medium
Eusebius is cited as accusing pagans of celebrating adulteries, baser lusts, incestuous mother-son and brother-sister unions, and as saying rites and hymns include divine marriages, procreation, death-dirges, drunkenness, wanderings, love, and anger.
The passage reports accusations of divine marriages, procreation, adulteries, incestuous unions, and gods committing fornication with human hearers.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24483-24564 confidence: medium
The author supposes the mysteries taught “the marriage of men with their gods”; ultimate bliss is described as “being god-beloved and dwelling with the gods,” understood as future wedlock with gods.
The author supposes that the mysteries promised initiated humans god-beloved dwelling with gods and eventual wedlock with them in the future life.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24653-24742 confidence: high
The passage compares Demeter/Kore with the Christian story: mourning for Christ and Demeter's child, joy at Christ risen and Kore returned, life beyond the grave, and Kore's lower-world wedding as assurance of future bliss.
Kore's descent is said to be not death but wedding; she becomes the honoured bride of the underworld king, and the initiated's hopes are linked to the union of Hades and Persephone and wedded happiness with gods.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24744-24836 confidence: high
The author says the “same doctrine” is a motif of many legends and mysteries; at Eleusis, Demeter’s daughter represents mankind because she “went down to the house of Hades.”
The passage repeatedly frames mortal or initiated hopes as union, embrace, or wedlock with goddesses, including Demeter, Despoina, and Aphrodite.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24838-24899 confidence: high
Clement’s alluded-to mysteries are said to concern Aphrodite’s birth and to have as their object the doctrine of the marriage of men and gods.
The passage repeatedly frames mysteries or rites as teaching marriage between men and gods, wedlock with a goddess of the dead, and the union of Dionysus with the queen.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24838-24899 confidence: high
Another version introduces Persephone as Aphrodite’s rival; Adonis enters the nether world, Aphrodite descends to Hades, and the goddesses arrange to share him for half the year; he survives unimpaired and weds the goddess of the dead.
The alternate Adonis version has Persephone and Aphrodite both enamoured of Adonis and arranging by compact to possess him for half the year each.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24901-24976 confidence: medium
Lawson reconstructs the popular belief that corporeal gods demanded human sacrifice because they desired the person who would be sent by death, body and soul, to be wed with them.
The passage reconstructs a belief that a person killed in sacrifice is sent body and soul to be wed with a god, and states that death may have been inflicted to effect wedlock between mortals and gods.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24901-24976 confidence: high
Plutarch refers to a man who violated a nymph and was found with his head severed; Lawson says ancient and modern Greek belief regarded intercourse with nymphs as possible but perilous.
The passage reports a man punished after violating a nymph and states that intercourse between man and nymph was believed possible but perilous.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24901-24976 confidence: medium
Plutarch assigns certain rites to daemons, says old human sacrifices appeased cruel daemons, and describes violent daemons demanding a human soul and bringing calamities until they obtain the object of love.
Plutarch's daemons demand a human soul as an object of love and cause pestilences, famines, wars, and tumults until they obtain it.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 24978-25062 confidence: high
In Cybele’s worship, Attis is assigned a role like Adonis: beloved of the goddess, lost and mourned as dead, restored from the grave, and representative of Cybele’s worshippers.
Attis is described as Cybele’s beloved, lost and mourned as dead, then restored from the grave to the goddess who loved him.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25064-25152 confidence: high
A rare travesty of holy things is said to have drawn contempt, showing the general reverence for the idea of marriage between humans and gods.
The passage repeatedly states or infers that mysteries culminated in the representation of marriage or wedlock between humans and deities and that the faithful hoped to be god-beloved.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25064-25152 confidence: medium
The author says mysteries assured immortality by showing Persephone, Adonis, or Attis restored bodily from the lower world; death was spoken of as marriage into the lower world, and human representatives were shown in wedlock with deities.
The passage says people thought and spoke of death as marriage into the lower world and that mysteries showed human representatives admitted to divine wedlock.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25154-25200 confidence: medium
The sacred marriage is interpreted as the divine prototype of human marriage, giving the wedding a sacramental character and anticipating communion with the gods after death.
The sacred marriage gives the wedding sacramental character and is linked to close communion with gods after death and to a promise of wedlock between men and gods hereafter.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25202-25286 confidence: medium
The passage summarizes Lucian’s dialogue in which Poseidon, aided by Triton, abducts Amymone; she protests, threatens to call her father, and fears being dragged into the sea and drowned.
Amymone is abducted by Poseidon, promised a named spring and exemption from the dead Danaids’ water-carrying, and is interpreted as blessed by wedlock with Poseidon.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25202-25286 confidence: high
The author states that mysteries are closely associated with human weddings and funerals, that death as a wedding has been exemplified in ancient literature and modern folk-songs, and that funeral customs are assimilated to marriage customs.
The author names death-as-wedding as a conception associated with mysteries and funerals, and cites an epitaph where Gorgippos descends without bridal beds to Persephone’s chamber.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25288-25390 confidence: high
Gorgippus's epitaph says he died before seeing a bridal bed and went down to the chamber of Persephone; the passage says the phrase 'bridal chamber of Persephone' recurs in such epitaphs.
The epitaphs are described as anticipating death as a wedding with the goddess of the underworld and using the phrase bridal chamber of Persephone.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25392-25458 confidence: high
The marriage of Hades, or Dionysus representing him, is said to become a prototype for the dead; death comes to be viewed as a wedding with death deities, reflected in funeral monuments and Dionysiac scenes.
The passage explicitly states that the process of death came to be considered as a wedding with the deities of death and that mortal marriage with Dionysus could typify the future marriage of the dead with their gods.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25392-25458 confidence: high
The passage concludes that several mystic marriages teach that marriage perfects divine and human life, and that future communion of the blessed and initiated with their gods is perfected by a marriage-bond.
The passage says that when the blessed and initiated dwell with their gods, the perfect bond of communion is the marriage-bond.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25460-25535 confidence: high
At funerals, marriage-legends where death and marriage were more clearly identified were favored, with Persephone’s story apparently frequent because of the reverence for the Eleusinian mysteries.
The passage repeatedly connects funeral contexts, divine marriage legends, and future bliss with wedlock between the dead and deities.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25460-25535 confidence: high
Hera’s epithet εὐδαίμων is linked with mystery vocabulary for future bliss as wedlock with deities; the passage says the wedding-stories share one fundamental idea.
The passage says mystery language denoted future bliss as wedlock with deities and concludes that marriage-scenes promise wedlock hereafter between mankind and deities.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25537-25630 confidence: high
“The scene depicted is the marriage of a youth ... Polyetes ... with a goddess Eudaemonia (or ‘Bliss’) in the lower world.”
Polyetes is shown marrying Eudaemonia in the lower world, and the passage says the scene would suggest an initiated youth realizing happy hopes through blissful union with the goddess of the lower world.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25537-25630 confidence: medium
“One is the race of men with the race of gods; for one is the mother that gave to both our breath,” though humans and gods are presently separated by unequal powers.
The passage says divine wedlock implied future equality with gods, quotes a shared race and mother of humans and gods, and cites an Orphic answer that the dead person shall be god instead of mortal after Despoina’s embrace.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25537-25630 confidence: medium
Love is described as driving the wedding-car of Zeus and Hera and as having “changed for Persephone the road of death into a road to bliss”; the passage adds that the true consummation of such love was wedlock.
The passage says Love changed for Persephone the road of death into a road to bliss, in a context where love’s consummation is wedlock.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25632-25708 confidence: high
The Orphic tablet is said to link death as a wedding with deification: 'I was admitted to the embrace of Despoina' and 'thou shalt be God instead of mortal.'
The passage explicitly names the popular conception of death as a wedding and connects it with the Orphic formula of being admitted to Despoina’s embrace and becoming god instead of mortal.
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Modern Greek Folklore and Ancient Greek Religion: A Study in Survivals THE BENEFIT OF DISSOLUTION. / FOOTNOTES: / CHAPTER VII. / THE UNION OF GODS AND MEN.; lines 25632-25708 confidence: high
The passage summarizes speeches in the Symposium: Love grants virtue and blessedness in life and after death, enables loving fellowship with humans and gods, restores erstwhile nature, heals, and makes people happy and blessed.
The Symposium material and the author’s interpretation present Love as granting blessedness, fellowship with gods, sacramental union, and final wedded bliss with deities.
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Pausanias's Description of Greece, Volume I, Translated with a Commentary by J. G. Frazer VOL, I. E / VOL. 1. F / VOL. I. G / VOL. I. H; lines 2453-2571 confidence: medium
Other paintings show Pentheus and Lycurgus punished for insolence to Dionysus, Ariadne asleep, Theseus putting out to sea, and Dionysus arriving to carry off Ariadne.
The painting sequence shows Ariadne asleep, Theseus departing by sea, and Dionysus arriving to carry her off.
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Pausanias's Description of Greece, Volume I, Translated with a Commentary by J. G. Frazer VOL, I. E / VOL. 1. F / VOL. I. G / VOL. I. H; lines 2898-3005 confidence: high
Io daughter of Inachus and Callisto daughter of Lycaon are said to share the same story: love of Zeus, wrath of Hera, and metamorphosis, Io into a cow and Callisto into a bear.
Io and Callisto are both summarized by the sequence love of Zeus, wrath of Hera, and metamorphosis into animals.
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Pausanias's Description of Greece, Volume I, Translated with a Commentary by J. G. Frazer VOL. I Q / VOL. I. R / VOL. I. T / VOL. I. U; lines 6620-6718 confidence: high
Hera’s gold-and-ivory statue is seated, crowned with Graces and Seasons, and holds a pomegranate and sceptre; the pomegranate is a holy mystery. A cuckoo on the sceptre is explained by Zeus changing into that bird while in love with maiden Hera; the narrator says he relates such tales without believing them.
Zeus changes himself into a cuckoo while in love with maiden Hera, and she catches the bird as a pet.
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Pausanias's Description of Greece, Volume I, Translated with a Commentary by J. G. Frazer VOL. I. AA / VOL. I, BB / VOL. I. DD / VOL. I, EE; lines 8330-8453 confidence: medium
The island formerly named Sphaeria was renamed Sacred Island; it contains the tomb of Sphaerus, charioteer to Pelops; Aethra crossed there in obedience to a dream from Athena with libations for Sphaerus, Poseidon had intercourse with her there, and Aethra founded a temple of Athena Apaturia and a custom that maidens dedicate girdles before wedlock.
Aethra crosses to the island in obedience to Athena's dream, offers libations, Poseidon has intercourse with her there, and she founds a temple and custom afterward.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2188-2244 confidence: medium
The speaker defends inspired madness and says love is sent by the gods for good to lover or beloved; the madness of love is called the greatest of heaven's blessings.
The passage says love is sent by the gods and calls the madness of love the greatest of heaven's blessings.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2389-2457 confidence: high
The uninitiated or corrupted person does not rise to true beauty and pursues pleasure; the recently initiated spectator of otherworldly glories sees a godlike beloved, feels awe, reveres him, and would sacrifice to him as to an image of a god.
The passage contrasts uninitiated or corrupted perception with the recently initiated spectator who recognizes divine beauty in the beloved’s godlike form.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2389-2457 confidence: high
The uninitiated or corrupted person does not rise to true beauty and pursues pleasure; the recently initiated spectator of otherworldly glories sees a godlike beloved, feels awe, reveres him, and would sacrifice to him as to an image of a god.
The lover reveres the beloved as godlike, is described as maddened and unable to sleep or remain in place, and worships the beloved as the healer of pain.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2389-2457 confidence: medium
When the soul sees the beloved and bathes in the waters of beauty, pain ceases; the lover will not forsake the beautiful one, forgets family, companions, property, and propriety, seeks to sleep nearby, and treats the desired one as object of worship and physician of pain.
When the lover sees the beloved, the soul is refreshed and pain ceases; the beloved is called the physician who alone assuages the lover’s pain.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2389-2457 confidence: high
The lover looks on the beloved's face “as of a god” and would sacrifice to him “as to the image of a god.”
The beloved's face is viewed as that of a god, and the lover would sacrifice to him as to the image of a god.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2459-2497 confidence: high
A follower of any god honors and imitates that god, chooses a beautiful love according to character, and fashions the beloved as a godlike image for worship.
The beloved is chosen from beauty, made the lover's god, and fashioned as an adorned image for worship.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2459-2497 confidence: high
Each chooses love according to character and “fashions and adorns as a sort of image which he is to fall down and worship.”
The beloved is chosen according to the lover’s character, treated as a godlike image, and educated to resemble the god honored by the lover.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2499-2549 confidence: medium
At the beloved's flashing beauty, the charioteer remembers true beauty with Modesty, falls back in adoration, and pulls the reins so both horses retreat.
The beloved's visible beauty causes the charioteer to remember true beauty, associated with Modesty and holy imagery.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2551-2634 confidence: medium
The beloved, formerly ashamed and turned away by slander, is led at the appointed time to receive the lover into communion and intimacy; fate is said to ordain friendship among the good.
The beloved is described as like a god, receives loyal service, and is filled with love through the returning stream of Desire.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 2551-2634 confidence: medium
The beloved receives the lover into communion and intimacy, recognizes the lover's good-will, and values the inspired friend above other friends or kin.
The beloved is described as like a god, the lover as inspired, and the stream of Desire is linked to Zeus and Ganymede.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 3061-3191 confidence: medium
Divine madness is divided into prophetic, initiatory, poetic, and erotic kinds, associated with Apollo, Dionysus, the Muses, Aphrodite and Eros; the erotic kind is linked to a myth and hymn to Love.
Erotic madness is associated with Aphrodite and Eros, described as best, linked to a hymn to Love, and later described as divine love that brings the greatest benefits.
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Phaedrus PHAEDRUS / INTRODUCTION. / ON THE DECLINE OF GREEK LITERATURE. / PHAEDRUS; lines 3061-3191 confidence: medium
Divine madness is divided into prophetic, initiatory, poetic, and erotic forms, associated respectively with Apollo, Dionysus, the Muses, and Aphrodite with Eros.
Erotic madness is assigned to Aphrodite and Eros, is called the best kind in the review, and the speech is said to praise divine love as author of the greatest benefits.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 154-206 confidence: medium
Socrates glorifies madness and divides it into divination or prophecy, purification by mysteries, poetry or inspiration of the Muses, and love; madness is called one of heaven's blessings, and comparisons are made to Cratylus, Io, and Ion.
The fourth kind of madness is love, and it cannot be explained without examining the nature of the soul.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 208-288 confidence: high
The soul is likened to a bird eager to quit its cage, fluttering upward and deemed mad; corrupted nature pursues sensual pleasure, while the true mystic seeing a god-like form or face is amazed and would worship if not afraid of being thought mad.
The true mystic beholds a god-like form or face; the lover’s wing grows again, and the beloved alone cures the lover’s pain.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 208-288 confidence: medium
The characters of lovers depend on the god they followed in the other world; followers of Ares are fierce, followers of Zeus seek philosophical and imperial natures, attendants of Here find royal love, and followers of each god seek a love like that god.
The passage states that lovers’ characters depend on the god they followed in the other world and that they choose corresponding loves in this world.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 208-288 confidence: medium
The corrupted nature rushes toward sensual pleasure; the true mystic beholds a god-like form with delight, the wing begins to grow again, the beloved is a physician, and love is called dove or winged one by immortals.
The beloved appears as a god-like form, cures the lover’s pain, and is chosen according to the god followed in the other world.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 290-374 confidence: medium
The passage introduces the charioteer and two steeds, one noble and one ill-looking, as a figure of the soul approaching the vision of love.
The beloved is approached as the vision of love, beheld with awe, and followed by the lover's soul in modesty and holy fear.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 639-716 confidence: medium
Socrates condemns both speeches as sinful and blasphemous toward the god Love, rejects merely interested worldly love, and announces another divine, eternal kingdom of love to be shown in a mystery.
Socrates contrasts interested worldly love with another kingdom of love that is not of this world, divine, and eternal.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 639-716 confidence: medium
"another kingdom of love, a kingdom not of this world, divine, eternal"
The passage contrasts worldly love with another kingdom of love that is divine and eternal.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 718-802 confidence: low
The soul repeatedly beholds the flashing beauty of the beloved, but animal desires must be subjected before that vision can be enjoyed.
The passage discusses love as madness and connects it with inspiration, imagination, idealism, or communion with God; it also describes repeated vision of the beloved's beauty.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 804-884 confidence: medium
The philosopher or philosopher-lover is called a sort of madman and compared with the Republic and Theaetetus, where the philosopher is a stranger and monster; the whole myth is said to describe figuratively things beyond human faculties, and philosophy as love's inspiration is linked with the Symposium.
The philosopher or philosopher-lover is described as a madman; philosophy is represented as the inspiration of love; love's capriciousness is connected with attachment to a god in a former world.
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Phaedrus Phaedrus / PHAEDRUS / INTRODUCTION.; lines 804-884 confidence: medium
Love’s mystery and associations are explained by reference to a former state of existence; its capriciousness is derived from attachment to some god in a former world; the beloved is said to be more affected than the lover at consummation.
The passage says the capriciousness of love comes from attachment to some god in a former world and that human characters are referred back to the god served in a former state.
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Plutarch's Morals PLUTARCH'S MORALS. / ON EDUCATION. / ON LOVE TO ONE'S OFFSPRING. / ON LOVE.; lines 1553-1631 confidence: medium
Belestiche is described as a foreign woman who has shrines and temples at Alexandria with an inscription as Aphrodite Belestiche because of the king's love.
Belestiche is said to have shrines and temples with the inscription Aphrodite Belestiche, attributed to a king's love.
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Plutarch's Morals PLUTARCH'S MORALS. / ON EDUCATION. / ON LOVE TO ONE'S OFFSPRING. / ON LOVE.; lines 1918-1994 confidence: medium
Bacchic and Corybantic dances can be modulated and quelled by changing metre and measure.
The passage explicitly describes love-fury as seizing and inflaming lovers, unlike other ritual or prophetic states that can be calmed, and states that a god guides lovers' enthusiasm.
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Plutarch's Morals PLUTARCH'S MORALS. / ON EDUCATION. / ON LOVE TO ONE'S OFFSPRING. / ON LOVE.; lines 1996-2069 confidence: high
The passage says some regard Iolaus as one of Hercules' loves and swear fidelity at his tomb; Hercules preserves Alcestis' life for Admetus; Apollo is said to be enamoured of Admetus and his hired slave for a year.
Apollo is said to be enamoured of Admetus and to have been his hired slave for one year.
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Plutarch's Morals PLUTARCH'S MORALS. / ON EDUCATION. / ON LOVE TO ONE'S OFFSPRING. / ON LOVE.; lines 2115-2184 confidence: medium
The speaker asks Daphnaeus to repeat Sappho's lines in which, when her love appears, her voice fails, her body burns, and she is seized by paleness, trembling, and vertigo; Daphnaeus repeats them.
The passage explicitly calls the erotic state a divine seizure, attributes it to the god striking one person, and centers the lover's response to the beloved's beauty.
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Plutarch's Morals PLUTARCH'S MORALS. / ON EDUCATION. / ON LOVE TO ONE'S OFFSPRING. / ON LOVE.; lines 2186-2271 confidence: medium
The father compares geometric teachers using spheres, cubes, and dodecahedrons to celestial Love, which has contrived beautiful mirrors in the shapes, colors, and appearances of youths and thereby stirs memory.
Celestial Love is said to contrive beautiful mirrors in the appearances of youths, stirring memory and leading lovers to seek traces or resemblances of the divine.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 1320-1353 confidence: high
“Love will make men dare to die for their beloved--love alone; and women as well as men.”
The passage states that Love makes people dare to die for the beloved, with Alcestis and Achilles as examples.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 1493-1543 confidence: medium
"This is that love which is the love of the heavenly godess... making the lover and the beloved alike eager in the work of their own improvement. But all other loves are the offspring of the other, who is the common goddess."
The love of the heavenly goddess is said to be of great price to individuals and cities and to make lover and beloved eager for improvement.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 1493-1543 confidence: medium
Acceptance for the sake of virtue is noble; this love is called heavenly, of the heavenly goddess, and valuable to individuals and cities; other loves are offspring of the common goddess.
The passage contrasts heavenly love associated with a heavenly goddess and other loves as offspring of a common goddess.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 1885-1974 confidence: medium
Love is said to have set in order the empire of the gods; in earlier days dreadful deeds were done among gods when they were ruled by Necessity, but since Love's birth every good in heaven and earth has sprung from love of beauty.
Love is treated as a god who orders the empire of the gods, gives peace, calms storms, and creates affection among people.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 2477-2569 confidence: medium
Diotima describes the supreme life as contemplation of absolute beauty; seeing true divine beauty with the eye of the mind enables the beholder to bring forth true virtue, become friend of God, and be immortal if mortal man may.
The beholder of true divine beauty is said to commune with it, bring forth true virtue, become friend of God, and be immortal if a mortal may.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 2477-2569 confidence: medium
The life of contemplating absolute beauty is praised; seeing true divine beauty with the mind enables the beholder to bring forth true virtue and become a friend of God and immortal, if possible.
The passage names true beauty as divine, pure, and the object of looking and converse in the life praised above all others.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION. / SYMPOSIUM; lines 2571-2651 confidence: low
Socrates asks Agathon for protection, saying Alcibiades' passion has become serious, that Alcibiades grows envious and jealous when Socrates speaks to or looks at others, and that Socrates fears bodily harm from him.
Socrates describes Alcibiades' passion as jealous and potentially violent whenever Socrates speaks to or looks at another fair person; the available taxonomy only loosely matches this love-centered rivalry.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 233-318 confidence: high
The two halves search for one another, embrace to the point of hunger, and Zeus devises a sexual adjustment allowing marriage and ordinary life.
The divided halves seek one another, embrace, and would accept being melted into one; love is defined as the pursuit of the whole.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 411-502 confidence: medium
"The power of love is represented in the Symposium as running through all nature and all being" and extending from animals and plants to the highest vision of truth.
Love is described as running through nature and being and as a mythic personage converted by philosophy into an efficient cause of creation.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 504-591 confidence: medium
The passage discusses Alcibiades' narrative, signs of Socrates' absence, Socrates' trance or abstraction, Socrates' drinking powers, his view that the first five speeches are fanciful encomiums of the god Love, satirical appeals to mythology including Zeus reconstructing man, Socratic truth-telling about holy things, and the banquet with love as discourse theme and much wine drunk.
The passage refers to exaggerated encomiums of the god Love and says love is the theme of the banquet discourse.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 504-591 confidence: medium
Phaedrus' discourse is described as half-mythical and half-ethical; it treats honour and dishonour, love's antiquity, the blessing of having a lover, love as an incentive to daring deeds, examples of Alcestis and Achilles, and the claim that gods favour returned love from the beloved because the lover is nobler and more divine.
Phaedrus is summarized as saying that gods favour returned love from the beloved more than the original sentiment, because the lover is nobler and more divine.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 677-763 confidence: medium
Diotima, prophetess of Mantineia, is described as sacred and superhuman; she teaches Socrates the art and mystery of love, that love is another aspect of philosophy, and that the soul's want can become intellectual aspiration; the commentary compares Christian, Pauline, medieval, and Dantean examples.
The passage compares Platonic love with divine loves under human figures and with Dante seeing all things in his love of Beatrice.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 765-833 confidence: medium
Philosophical upward progress is said to begin through youthful beauty, which becomes enthusiasm for ideal beauty and worship of a godlike image such as Apollo or Antinous.
The passage says the philosopher's upward progress begins through youthful beauty and becomes enthusiasm for ideal beauty.
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Symposium Symposium / SYMPOSIUM / INTRODUCTION.; lines 923-996 confidence: medium
The passage describes a language of mysteries with higher degrees of initiation leading to a perfect vision of eternal, absolute, divine beauty beyond limits of space and time.
The passage describes a perfect vision of beauty that is eternal, absolute, divine, unlimited, and the highest knowledge of the human mind.
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The Argonautica BOOK I / BOOK II / BOOK III / BOOK IV; lines 3916-4011 confidence: medium
The Moon sees Medea fleeing and says that Medea now shares a like mad passion; the Moon mentions her own love for fair Endymion and says Jason has been given to Medea as grievous woe.
The narrator questions whether Medea’s action is lovesick grief or panic flight; the Moon says a god of affection has given Jason to Medea as grievous woe and compares it to her own love for Endymion.
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The Argonautica BOOK I / BOOK II / BOOK III / BOOK IV; lines 4615-4702 confidence: medium
Hera says she gave Thetis the best of the sons of earth as husband, summoned the gods to the feast, and raised the bridal torch herself.
Hera gives Thetis a mortal husband, Peleus, summons the gods to the feast, and raises the bridal torch.
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The Argonautica BOOK I / BOOK II / BOOK III / BOOK IV; lines 4615-4702 confidence: medium
Thetis vanishes into the sea, and Peleus is struck with pain because he had not seen her since she left the bridal chamber and bed in anger over infant Achilles.
After Peleus interrupts the treatment of Achilles, Thetis leaves like wind or dream, leaps into the sea, and does not return.
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The Argonautica BOOK I / BOOK II / BOOK III / BOOK IV; lines 5412-5491 confidence: medium
Euphemus dreams that a god-given clod suckled by white milk grows into a maiden-like woman; after union with him she says she is Triton’s daughter, nurse of his children, and asks to dwell with the daughters of Nereus near Anaphe until she returns to prepare a home for his descendants.
In Euphemus’s dream the clod becomes a maiden-like woman; he unites with her, and she identifies herself as Triton’s daughter and nurse of his children.
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The Argonautica INTRODUCTION / THE ARGONAUTICA / BOOK I / BOOK II; lines 2364-2448 confidence: medium
Zeus gives Sinope, daughter of Asopus, a home and promises to grant her desire; she asks for virginity and is said to deceive Zeus, Apollo, and Halys.
Sinope is desired by Zeus and Apollo, requests virginity as the promised boon, and is said to remain unsubdued in love.
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The Argonautica THE ARGONAUTICA / BOOK I / BOOK II / BOOK III; lines 2773-2861 confidence: high
Cypris goes through Olympus to find her boy and finds him in Zeus’ blooming orchard with Ganymedes, whom Zeus set among the gods because of his beauty; Eros and Ganymedes are playing for golden dice, and Ganymedes loses and leaves empty-handed.
Ganymedes is described as one whom Zeus set among the immortal gods because Zeus was enamoured of his beauty.
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The Argonautica THE ARGONAUTICA / BOOK I / BOOK II / BOOK III; lines 2863-2957 confidence: medium
Eros enters unseen in the mist, strings his bow, shoots Medea, and the arrow makes her gaze at Aeson’s son and suffer inward love described through burning-fire imagery.
Eros shoots Medea with an arrow, producing painful love directed toward Aeson’s son.
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The Argonautica THE ARGONAUTICA / BOOK I / BOOK II / BOOK III; lines 3426-3517 confidence: medium
Argus leads Aeson’s son from his comrades, accompanied by Mopsus, who is skilled in bird-oracles and counsel; Hera makes Jason radiant and exceptional, and Mopsus forebodes the outcome.
Hera makes Jason radiant and exceptional before the meeting, and the crow’s speech frames the situation as one involving a maiden’s sweetness or love toward a youth.
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The Argonautica THE ARGONAUTICA / BOOK I / BOOK II / BOOK III; lines 3519-3591 confidence: medium
Mopsus hears the god-sent voice of the bird and tells Aeson’s son to go to the temple to find the maiden; Cypris will help him in the contest as Phineus foretold, while Mopsus and Argus wait behind.
Cypris is said to prompt Medea’s favorable response; Aeson’s son requests charms needed for the contest; Medea gives him the charm.
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The Argonautica THE ARGONAUTICA / BOOK I / BOOK II / BOOK III; lines 3519-3591 confidence: medium
Aeson’s son recalls Ariadne, daughter of Minos, who rescued Theseus from grim contests, left her fatherland with him, was loved by the gods, and is marked in the sky by Ariadne’s crown; he says Medea too will receive divine thanks if she saves the chieftains.
Aeson’s son explicitly recounts Ariadne rescuing Theseus, leaving her fatherland with him, being loved by the gods, and receiving a starry sign.
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The Argonautica The Argonautica / INTRODUCTION / THE ARGONAUTICA / BOOK I; lines 1358-1449 confidence: medium
The water-nymph sees the boy nearby, lit by the full moon, and Cypris makes her heart faint so that she can scarcely regain composure.
A water-nymph sees Hylas, is moved by desire through Cypris, embraces him, and pulls him into the eddy.
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The Argonautica The Argonautica / INTRODUCTION / THE ARGONAUTICA / BOOK I; lines 1358-1449 confidence: medium
The water-nymph sees the boy nearby, lit by the full moon, and Cypris makes her heart faint so that she can scarcely regain composure.
Cypris makes the water-nymph’s heart faint when she sees Hylas, leading directly into the nymph’s attempt to kiss and seize him.
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The Argonautica The Argonautica / INTRODUCTION / THE ARGONAUTICA / BOOK I; lines 1451-1517 confidence: high
Glaucus says Polyphemus is destined to found a city at the mouth of Cius and later fulfill fate among the Chalybes; a goddess-nymph has, through love, made Hylas her husband, causing two companions to wander and be left behind.
Glaucus states that a goddess-nymph, through love, has made Hylas her husband.
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The Bacchae of Euripides AGAVE. / CHORUS. / NOTES ON THE BACCHAE / INTRODUCTORY NOTE; lines 3016-3097 confidence: high
Semelê, daughter of Cadmus and beloved by Zeus, asks him to appear in full glory; he comes as miraculous lightning; she dies and gives premature birth.
Semelê is loved by Zeus and asks to see him in full glory; his miraculous lightning appearance is followed by her death.
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The Bacchae of Euripides DIONYSUS. / PENTHEUS. / DIONYSUS. / CHORUS.; lines 1117-1211 confidence: medium
The chorus says Pentheus will bind the Bride of Dionysus, and that the chorus's priest and friend has been taken and lies buried or forsaken in the dark.
The chorus speaks of Pentheus binding 'me, the Bride of Dionyse.'
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The Extant Odes of Pindar FOR ARISTOKLEIDES OF AIGINA, / WINNER IN THE PANKRATION. / FOR TIMASARCHOS OF AIGINA, / WINNER IN THE BOYS' WRESTLING-MATCH.; lines 4418-4541 confidence: high
Akastos prepared death for Peleus by stealing his crafted sword, but Cheiron delivered him. Peleus fulfilled Zeus' destiny, escaped fire, lion claws, and terrible teeth, married a Nereid, and saw kings of heaven and sea reveal gifts and a kingdom. The footnote identifies Akastos and says Thetis changed herself into fire and wild beasts while resisting Peleus.
Peleus survives fire and beast dangers, marries one of the Nereids, and the footnote explains that Thetis resisted Peleus by changing into fire and wild beasts.
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The Extant Odes of Pindar FOR ARISTOMENES OF AIGINA, / WINNER IN THE WRESTLING-MATCH. / FOR TELESIKRATES OF KYRENE, / WINNER OF THE FOOT-RACE IN FULL ARMOUR.; lines 3664-3764 confidence: high
Apollo catches up Kyrene from Pelion, bears her in a golden car, makes her queen in a rich land, and Aphrodite joins Apollo and the daughter of Hypseus in wedlock.
Apollo takes Kyrene from Pelion in a golden car, and Cheiron says Apollo has come to wed her and will bear her beyond the sea.
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The Extant Odes of Pindar FOR HIERON OF AITNA, / WINNER IN THE CHARIOT-RACE. / FOR HIERON OF SYRACUSE, / WINNER IN THE CHARIOT-RACE.; lines 2443-2555 confidence: medium
Men pay sweet song to kings; Kinyras is praised in Cyprus, loved by golden-haired Apollo, and dwells as priest in Aphrodite's house; praise follows recompense for friendly acts.
Kinyras is briefly described as fervently loved by Apollo and as priest in Aphrodite's house.
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The Extant Odes of Pindar FOR STREPSIADES OF THEBES, / WINNER IN THE PANKRATION. / FOR KLEANDROS OF AIGINA, / WINNER IN THE PANKRATION.; lines 6088-6206 confidence: high
The speaker, reared by seven-gated Thebes, says two daughters of Asopos found favor with Zeus: one was set near Dirke as queen of a city, and the other was carried to the Oinopian isle and bore Aiakos to Zeus.
Aigina, daughter of Asopos and favored by Zeus, bears Aiakos, who becomes an exemplary heroic ancestor.
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The Extant Odes of Pindar FOR THRASYDAIOS OF THEBES, / WINNER IN THE BOYS' SHORT FOOT-RACE. / FOR MIDAS OF AKRAGAS, / WINNER IN THE FLUTE-PLAYING MATCH.; lines 4048-4119 confidence: medium
The Maiden, after delivering her well-beloved from toils, contrived manifold flute music to repeat the shrill lament from Euryale's ravening jaws.
Athene is said to have delivered her well-beloved from these toils in the context of Perseus' encounter with the Gorgons and Phorkos' brood.
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The Extant Odes of Pindar FOR TIMASARCHOS OF AIGINA, / WINNER IN THE BOYS' WRESTLING-MATCH. / FOR PYTHEAS OF AIGINA, / WINNER IN THE BOYS' PANKRATION.; lines 4543-4635 confidence: high
Hippolyte, Kretheus' daughter and wife of Akastos, seeks to trap Peleus by deceit, falsely alleging to her husband that Peleus came to her bed; the passage says she had solicited Peleus and he refused, fearing the Father who guards host and guest.
Peleus refuses Hippolyte out of fear of the divine guardian of host and guest; Zeus knows this and promises him a bride from among the Nereids.
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The Extant Odes of Pindar PREFATORY NOTE. / OLYMPIAN ODES. / FOR HIERON OF SYRACUSE, / WINNER IN THE HORSE-RACE.; lines 714-827 confidence: high
In the speaker's account, Poseidon, his heart overcome by love, snatches Pelops and carries him behind golden steeds to the high house of Zeus; Ganymede later comes there on a like errand.
Poseidon is said to love Pelops and to snatch him away behind golden steeds to Zeus' house; Ganymede is named as a later similar case.
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The Extant Odes of Pindar WINNER IN THE BOYS' PENTATHLON. / VIII. / FOR DEINIS OF AIGINA, / WINNER IN THE SHORT FOOT-RACE.; lines 4943-5047 confidence: medium
"Spirit of beautiful youth, thou herald of Aphrodite's loves ambrosial"; the spirit alights on the eyes of girl or boy and handles them with tenderly constraining hands.
The passage depicts loves attending the bridal-bed of Zeus and Aigina, Aphrodite's gifts being dispensed, and a son springing from that union.
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The Homeric Hymns DEDICATION / PREFACE / ESSAYS INTRODUCTORY / THE SO-CALLED HOMERIC HYMNS; lines 224-270 confidence: low
The author gives a mock colloquial speech of Anchises mentioning a mortal mother, Otreus as father, Hermes as an undying person, the addressee as future wife, and interference by mortals or immortals.
The mock speech of Anchises addresses a figure later called a Goddess and refers to her being known as his wife and to mortal or immortal interference.
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The Homeric Hymns ESSAYS INTRODUCTORY / THE SO-CALLED HOMERIC HYMNS / THE HYMN TO APOLLO / THE HYMN TO HERMES; lines 619-693 confidence: medium
“His very birth is a stolen thing, the darkling fruit of a divine amour in a dusky cavern.”
Hermes’ birth is described as a stolen thing, the fruit of a divine amour in a dusky cavern.
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The Homeric Hymns HOMERIC HYMNS / HYMN TO APOLLO / THE FOUNDING OF DELPHI / II. HERMES; lines 2114-2197 confidence: medium
Hermes is invoked as son of Zeus and Maia, lord and herald; Maia is a cave-dwelling nymph whom Zeus embraces at night while Hera sleeps, unknown to gods and mortals.
Zeus embraces Maia secretly in her cave at night while Hera sleeps and gods and mortals are unaware.
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The Homeric Hymns HYMN TO APOLLO / THE FOUNDING OF DELPHI / II. HERMES / III. APHRODITE; lines 2611-2705 confidence: high
Aphrodite can beguile Zeus, but Zeus sends sweet desire into Aphrodite for Anchises, a mortal on many-fountained Ida, so that she will not boast of making gods consort with mortals while avoiding a mortal bed herself.
Zeus causes Aphrodite to desire Anchises, a mortal man on Ida; Aphrodite sees and loves him, and the encounter begins.
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The Homeric Hymns HYMN TO APOLLO / THE FOUNDING OF DELPHI / II. HERMES / III. APHRODITE; lines 2707-2783 confidence: high
The goddess brings sweet desire into Anchises' heart; Anchises says no mortal or god, not even Apollo, will prevent him from lying with her, and he would go to Hades if first he climbed into her bed.
Aphrodite, an immortal goddess, inspires desire in the mortal Anchises and lies with him.
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The Homeric Hymns HYMN TO APOLLO / THE FOUNDING OF DELPHI / II. HERMES / III. APHRODITE; lines 2785-2869 confidence: high
Aphrodite tells Anchises not to fear, says he is dear to the gods, foretells a son named Aeneas who will rule among the Trojans, and links the name to her sorrow at lying with a mortal man.
Aphrodite has come to Anchises as a mortal lover, bears his child, and commands that her identity not be revealed.
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The Homeric Hymns HYMN TO APOLLO / THE FOUNDING OF DELPHI / II. HERMES / III. APHRODITE; lines 2785-2869 confidence: high
Zeus carried away golden-haired Ganymedes for beauty, made him cup-bearer in Zeus's house drawing red nectar from a golden mixing-bowl, compensated grieving Tros with horses, and declared Ganymedes exempt from old age and death.
Ganymedes is carried away by Zeus for beauty, and Tithonus is carried off by Dawn as her lover.
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The Homeric Hymns II. HERMES / III. APHRODITE / IV. HYMN TO DEMETER / V. TO APHRODITE; lines 3306-3325 confidence: high
After Aphrodite is adorned, the Hours lead her to the Immortals, who greet and welcome her; each god wishes to take her home as his wedded wife because of her beauty.
Each god wishes to lead Aphrodite home as his wedded wife because of her beauty.
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The Homeric Hymns PREFACE / ESSAYS INTRODUCTORY / THE SO-CALLED HOMERIC HYMNS / THE HYMN TO APOLLO; lines 503-554 confidence: high
"As a nature-god of the Heaven he marries the Earth." The passage also says divine amours supported descent claims and that totemic beast-kinship attached myths of wolf, bull, serpent, swan, and similar forms to Zeus.
The passage says human families claimed descent from a god and that a separate myth of divine amour was needed for each such claim.
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The Homeric Hymns THE SO-CALLED HOMERIC HYMNS / THE HYMN TO APOLLO / THE HYMN TO HERMES / THE HYMN TO APHRODITE; lines 696-776 confidence: high
The passage cites Iliad references to Aeneas, whom Aphrodite bore after couching with the mortal Anchises on Ida; Aeneas is also called son of Aphrodite and the neat-herd Anchises.
Aphrodite is described as a goddess couching with the mortal Anchises and being driven by Zeus into the arms of a mortal.
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The Homeric Hymns THE SO-CALLED HOMERIC HYMNS / THE HYMN TO APOLLO / THE HYMN TO HERMES / THE HYMN TO APHRODITE; lines 696-776 confidence: high
Anchises' dread is explained as the belief that a man is not long-lived if he lies with a goddess; the passage compares this with beliefs from Glenfinlas, Samoa, New Caledonia, the Breton ballad Le Sieur Nan, and Thomas the Rhymer concerning fatal supernatural female lovers.
Anchises' dread is explained as part of a belief that men who lie with goddesses or spiritual woodland women may die or have shortened lives.
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The Homeric Hymns THE SO-CALLED HOMERIC HYMNS / THE HYMN TO APOLLO / THE HYMN TO HERMES / THE HYMN TO APHRODITE; lines 778-861 confidence: medium
A genealogical method reconciles gods as children, grandchildren, brothers, or sisters of Zeus; amours such as Zeus loving Leto, Leda, and Europa account for relationships, creating moral contradictions.
The passage names Zeus's loves of Leto, Leda, Europa, and other divine amours as explanations for genealogical relationships.
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The Homeric Hymns XIV. TO HERACLES THE LION-HEART / XV. TO ASCLEPIUS / XVI. TO THE DIOSCOURI / XVII. TO HERMES; lines 3495-3506 confidence: medium
“Him did Maia bear, the modest daughter of Atlas, to the love of Zeus.”
Hermes’ birth is connected to Maia and the love of Zeus, with Cronion’s visits to Maia described in the secluded cave.
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The Homeric Hymns XXVIII. TO HESTIA / XXIX. TO EARTH, THE MOTHER OF ALL / XXX. TO HELIOS / XXXI. TO THE MOON; lines 3728-3745 confidence: high
“With her once was Cronion wedded in love, and she conceived, and brought forth Pandia the maiden...”
The passage states that Cronion was wedded in love with Selene.
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The House of Atreus; Being the Agamemnon, the Libation Bearers, and the Furies TRANSLATED BY E.D.A. MORSHEAD / INTRODUCTORY NOTE / AGAMEMNON / DRAMATIS PERSONAE; lines 1629-1824 confidence: medium
Cassandra calls Apollo “God of all ways,” “Destroyer,” and “my love of old,” and asks what evil home he has led her to.
Cassandra addresses Apollo as her former love and as the destroyer who has destroyed her and led her to an evil home.
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The House of Atreus; Being the Agamemnon, the Libation Bearers, and the Furies TRANSLATED BY E.D.A. MORSHEAD / INTRODUCTORY NOTE / AGAMEMNON / DRAMATIS PERSONAE; lines 1826-2009 confidence: medium
The Chorus marvels that Cassandra knows an alien city's tales; Cassandra answers that Apollo gave her this power.
Apollo gives Cassandra prophecy, seeks her love, is foiled after a pledge, and Cassandra then seems false to all.
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The Iliad ARGUMENT. / BOOK XXIV. / ARGUMENT. / THE REDEMPTION OF THE BODY OF HECTOR.; lines 23122-23268 confidence: medium
The mother laments Hector as dearest, heaven-approved, beloved by immortals in death, free as a heroic ghost to the Stygian coast; she recalls Achilles dragging the corpse but says it remains fresh and fair as if Phoebus gently dismissed him below.
The mother says Hector is approved by heaven and beloved by the immortals even in death; Phoebus is invoked as gently dismissing him to the shades.
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The Iliad ARGUMENT. / THE DEATH OF HECTOR. / BOOK XXIII. / ARGUMENT.; lines 21866-22001 confidence: medium
Oilean Ajax, Ulysses, and Nestor's son run. Ulysses prays to Pallas, who aids him. Ajax stumbles where the slippery shore is clogged with dung and gore beside Patroclus' pyre, where victims had fed the fire.
Ulysses prays to Pallas, receives her aid, and Ajax attributes the victory to Pallas favoring Ulysses.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13567-13688 confidence: low
The book argument summarizes Juno's deception of Jupiter with Venus's girdle and Sleep's aid, Jupiter's slumber on Mount Ida, Neptune's aid to the Greeks, and Ajax striking Hector with a stone.
Jupiter is overcome by Juno's beauty, embraces her on Mount Ida, and is then laid asleep as part of Juno's plan.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13690-13832 confidence: medium
From aloft Hera sees Jove on Ida's shady height and asks what arts she might use to deceive and blind his all-beholding eye.
Hera plans to deceive Jove, oppose his wisdom with her charms, and lull him in her arms.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13834-13982 confidence: high
Venus invites Juno's request; Juno asks for charms that move mortals and immortals with love and sacred fires.
Juno obtains Venus's love-cestus and uses it in a plan involving Jove's desire and Sleep's action.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13984-14087 confidence: high
Jove says love will not delay and lists former lovers, including Ixion's wife, Danae, Theban women, Phoenix's daughter, Latona, Ceres, and Juno, with offspring such as Pirithous, Perseus, Bacchus, Alcides, Rhadamanth, and Minos.
Jove recalls former mortal and divine lovers and names heroic or divine offspring such as Pirithous, Perseus, Bacchus, Alcides, Rhadamanth, and Minos.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13984-14087 confidence: medium
Jove says love admits no delay and that his present desire exceeds earlier passions for Ixion's dame, Danae, Theban women, Phoenix's daughter, Latona, Ceres, and even Juno before; he names several offspring of those unions.
Jove expresses exceptional desire for Juno and promises that clouds and gold will hide the encounter from gods, mortals, and the sun.
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The Iliad BOOK XIII. / ARGUMENT. / BOOK XIV. / JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS.; lines 13984-14087 confidence: high
Jove says love admits no delay and that his present desire exceeds earlier passions for Ixion's dame, Danae, Theban women, Phoenix's daughter, Latona, Ceres, and even Juno before; he names several offspring of those unions.
Jove compares his desire for Juno to previous loves and names the offspring who arose from those unions.
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The Iliad THE CONTENTION OF ACHILLES AND AGAMEMNON. / BOOK II. / ARGUMENT. / THE TRIAL OF THE ARMY, AND CATALOGUE OF THE FORCES.; lines 4060-4164 confidence: medium
Divine neas leads the Dardan race, is Anchises' son by Venus' embrace, and was born in Ida's secret grove.
Anchises is described as a mortal mixing with Venus, the queen of love, resulting in neas' birth.
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The Iliad THE FIFTH BATTLE AT THE SHIPS; AND THE ACTS OF AJAX. / BOOK XVI. / ARGUMENT / THE SIXTH BATTLE, THE ACTS AND DEATH OF PATROCLUS; lines 15508-15644 confidence: medium
Eudorus is born of Polymele; Cellenius loves and pursues her from Diana's choir, and Eudorus' heavenly paternal race is acknowledged.
Cellenius loves and pursues Polymele, who later bears Eudorus.
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The Iliad THE NIGHT-ADVENTURE OF DIOMED AND ULYSSES. / BOOK XI. / ARGUMENT / THE THIRD BATTLE, AND THE ACTS OF AGAMEMNON.; lines 11305-11425 confidence: medium
Socus pierces Ulysses' shield and side; "By Pallas care" the spear stops short of life.
Pallas' care causes the spear lodged in Ulysses to stop short of killing him.
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The Iliad THE RECONCILIATION OF ACHILLES AND AGAMEMNON. / BOOK XX. / ARGUMENT. / THE BATTLE OF THE GODS, AND THE ACTS OF ACHILLES.; lines 19044-19173 confidence: high
Ganymed, divinely fair, is snatched to upper air to bear Jove's cup as guest of the ambrosial feast.
Ganymed is described as divinely fair, snatched to the upper air, and appointed cupbearer to Jove.
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The Iliad THE RECONCILIATION OF ACHILLES AND AGAMEMNON. / BOOK XX. / ARGUMENT. / THE BATTLE OF THE GODS, AND THE ACTS OF ACHILLES.; lines 19044-19173 confidence: high
Tros, source of the Trojan name, has sons Ilus, Assaracus, and Ganymed; Ganymed is divinely fair and is snatched to the upper air to bear Jove's cup.
Ganymed is called divinely fair; heaven, enamoured, snatches him to the upper air to bear Jove's cup.
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The Iliad THE REDEMPTION OF THE BODY OF HECTOR. / CONCLUDING NOTE. / A. POPE / END OF THE ILIAD; lines 25077-25187 confidence: medium
The note describes Zeus/Jupiter as absolute in Homeric mythology and cites his lament over Sarpedon, whom he considers rescuing alive to Lycia or destroying by Patroclus; Juno replies that rescue is possible but not sanctioned by the gods.
Zeus/Jupiter calls Sarpedon dearest to him among men while lamenting Sarpedon’s fated death.
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The Iliad THE REDEMPTION OF THE BODY OF HECTOR. / CONCLUDING NOTE. / A. POPE / END OF THE ILIAD; lines 25189-25329 confidence: medium
Heracles is described as semi-divine, beloved by Zeus, enduring endless toil for others under a persecutor, then admitted to godhead and married to Hebe.
Heracles is described as a semi-divine subjugator beloved by Zeus, made to labor, then admitted to godhead and married to Hebe.
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The Iliad THE TRIAL OF THE ARMY, AND CATALOGUE OF THE FORCES. / BOOK III. / ARGUMENT. / THE DUEL OF MENELAUS AND PARIS.; lines 4167-4303 confidence: medium
The argument summarizes: single combat between Menelaus and Paris is agreed to by Hector's intervention; Iris calls Helen; Priam and counsellors observe; oaths are taken; Paris is overcome and removed by Venus in a cloud; Agamemnon demands Helen's restoration.
Paris calls the charms of a lover gifts with which golden Venus arms him, and the argument says Venus removes and reunites him with Helen.
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The Iliad THE TRIAL OF THE ARMY, AND CATALOGUE OF THE FORCES. / BOOK III. / ARGUMENT. / THE DUEL OF MENELAUS AND PARIS.; lines 4581-4715 confidence: medium
Atrides' sword breaks on Paris' helmet; he drags Paris by the crest and thong, but Venus breaks the golden band, leaving an empty helmet in his hand.
Venus, called the queen of love, trembles for Paris, breaks the helmet band, conceals him in cloud, and carries him away from the battlefield.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer J. G, FRAZER. / VOL, I. D / VOL. I, E / VOL. I. G; lines 4368-4507 confidence: medium
Poseidon, in the likeness of Enipeus, lies with Tyro; she secretly gives birth to twin sons and exposes them.
Poseidon appears in the likeness of Enipeus before lying with Tyro.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER. / VOL, I. D / VOL. I, E; lines 3734-3874 confidence: medium
The Aloads pile Ossa on Olympus and Pelion on Ossa, threaten ascent to heaven, say they will change sea to land and land to sea, woo Hera and Artemis, and bind Ares.
Ephialtes woos Hera and Otus woos Artemis while the Aloads are acting against the gods.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER. / VOL, I. D / VOL. I, E; lines 3734-3874 confidence: high
Endymion, founder of Elis and of surpassing beauty, is loved by the Moon; Zeus lets him choose what he wants, and he chooses eternal sleep while deathless and ageless.
Endymion’s surpassing beauty is paired with the Moon falling in love with him.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER. / VOL, I. D / VOL. I, E; lines 3734-3874 confidence: high
Apollo meets Idas and would take Marpessa; Apollo and Idas fight for her hand; Zeus separates them and lets Marpessa choose, and she chooses Idas from fear Apollo would desert her in old age.
Apollo and Idas fight for Marpessa; Zeus lets her choose, and she chooses Idas because she fears Apollo may leave her in old age.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER. / VOL, I. D; lines 2947-3063 confidence: high
"Pluto fell in love with Persephone and with the help of Zeus carried her off secretly. But Demeter went about seeking her all over the earth with torches by night and day" and learned from the people of Hermion that Pluto carried her off.
Pluto falls in love with Persephone and secretly carries her off with Zeus's help.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER.; lines 2340-2459 confidence: high
Apollo later loved Hyacinth and involuntarily killed him by the cast of a quoit.
Apollo loves Hyacinth and involuntarily kills him by casting a quoit.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER.; lines 2589-2715 confidence: high
Asteria took the likeness of a quail and threw herself into the sea to escape Zeus; a city formerly called Asteria was later named Delos.
Asteria takes the likeness of a quail and enters the sea to escape Zeus’s amorous advances.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER.; lines 2589-2715 confidence: high
Latona was hunted by Hera over the whole earth because of Zeus; at Delos she bore Artemis first, and Artemis then helped her give birth to Apollo.
Latona, pursued by Hera because of Zeus, reaches Delos and gives birth to Artemis and Apollo.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer The Library, Volume I (Apollodorus), with an English Translation by James George Frazer / J. G, FRAZER.; lines 2819-2945 confidence: high
Dawn falls in love with Orion, carries him off, and brings him to Delos; Aphrodite made Dawn perpetually in love because Dawn had bedded with Ares.
Dawn falls in love with Orion, carries him off, and brings him to Delos.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL, I. D / VOL. I, E / VOL. I. G / VOL, I. H; lines 5564-5621 confidence: medium
Niobe has a son Argus by Zeus, and the passage states that she was the first mortal woman with whom Zeus cohabited.
Niobe is a mortal woman who cohabits with Zeus and bears Argus.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL, I. Q / VOL I. R / VOL. I, T / VOL. I, U; lines 10707-10810 confidence: medium
“Zeus loved her, and turning himself into a tame bull, he mounted her on his back and conveyed her through the sea to Crete.”
Zeus loves Europa, carries her through the sea to Crete, and her family later treats her as disappeared and searches for her.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL, I. Q / VOL I. R / VOL. I, T / VOL. I, U; lines 10953-11084 confidence: medium
Hermes loves Apemosyne, cannot catch her because she is swift, spreads fresh hides on the path, and she slips on them while returning from the spring and is deflowered.
Hermes loves Apemosyne but cannot catch her because of her speed, so he spreads fresh hides on the path and causes her to slip.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL, I. Q / VOL I. R / VOL. I, T / VOL. I, U; lines 11219-11339 confidence: medium
Cadmus' children are Autonoe, Ino, Semele, Agave, and Polydorus; Ino marries Athamas, Autonoe marries Aristaeus, Agave marries Echion, and Zeus loves and beds with Semele.
Zeus loves Semele and beds with her.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL. I, E / VOL. I. G / VOL, I. H / VOL. 1. K; lines 5623-5765 confidence: medium
After variant parentage notices, Zeus seduces Io while she is Hera’s priestess; when detected by Hera, he transforms Io into a white cow and denies knowing her.
Zeus seduces Io and, when Hera detects the event, transforms Io into a white cow by touch.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL. I, E / VOL. I. G / VOL, I. H / VOL. 1. K; lines 5767-5900 confidence: medium
The country is waterless because Poseidon dried even the springs in anger at Inachus for testifying that the land belonged to Hera; Danaus sends his daughters to draw water.
Poseidon dries the springs because of anger over Inachus's testimony; later, after Amymone lies with Poseidon, he reveals the Lerna springs to her.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL. I, E / VOL. I. G / VOL, I. H / VOL. 1. K; lines 5767-5900 confidence: medium
Amymone searches for water, throws a dart at a deer and hits a sleeping satyr; the satyr desires to force her, Poseidon appears and the satyr flees, Amymone lies with Poseidon, and he reveals the springs at Lerna.
Amymone searches for water, is threatened by a satyr, and the satyr flees when Poseidon appears; she then lies with Poseidon.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL. I, U / VOL. I. Y / VOL. I. Z / VOL. I. AA; lines 13813-13926 confidence: high
Zeus loves Callisto, assumes the likeness of Artemis or Apollo, shares her bed against her will, and turns her into a bear to escape Hera's notice.
Zeus assumes the likeness of Artemis or Apollo and shares Callisto's bed against her will after loving her.
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The Library, Volume I (Apollodorus), with an English Translation by James George Frazer VOL. I. G / VOL, I. H / VOL. 1. K / VOL. I. M; lines 6748-6882 confidence: medium
Taphos cannot be taken while Pterelaus lives; Comaetho, his daughter, falls in love with Amphitryon and pulls the golden hair from Pterelaus’s head, after which he dies.
Comaetho falls in love with Amphitryon and removes her father’s golden hair, enabling Amphitryon’s victory.
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The Odyssey BOOK I / BOOK II / BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS.; lines 1232-1327 confidence: medium
Nestor says he has heard the suitors are ill disposed toward Telemachus and are wasting his estate; he suggests Ulysses may return and punish them, and that Minerva’s favor would make the wooers forget their wooing.
Nestor recalls Minerva as openly fond of Ulysses and imagines that similar care for Telemachus would defeat the wooers’ designs.
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The Odyssey BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS. / BOOK IV / BOOK V; lines 2386-2472 confidence: high
Calypso angrily says the gods are jealous of goddesses who love mortal men; she cites Dawn’s love for Orion ending in Diana killing him and Ceres’ love for Iasion ending in Jove killing him with thunderbolts.
Calypso frames her relationship with Ulysses as one instance of goddesses loving mortal men and being resented by the gods, alongside Dawn-Orion and Ceres-Iasion.
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The Odyssey BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS. / BOOK IV / BOOK V; lines 2386-2472 confidence: high
Calypso asks if Ulysses truly wants home, warns him of future suffering, offers household life and immortality, and compares herself to his wife; Ulysses says Penelope is mortal and less beautiful, yet he wants home and will bear another wreck. At sunset they go to the inner cave and bed.
Calypso offers Ulysses immortality and life with her, but he chooses the desire for home and Penelope despite the likelihood of suffering.
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The Odyssey BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS. / BOOK IV / BOOK V; lines 2386-2472 confidence: high
Calypso says the gods are jealous and hate seeing a goddess take a fancy to a mortal man and live with him in open matrimony.
Calypso describes her love for Ulysses and compares it with Dawn's love for Orion and Ceres' love for Iasion.
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The Odyssey BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS. / BOOK IV / BOOK V; lines 2386-2472 confidence: high
Calypso asks whether Ulysses would leave at once and says that if he knew his future suffering he would stay, keep house with her, and let her make him immortal despite his longing for his wife.
Calypso offers immortality if Ulysses stays; Ulysses acknowledges her superiority to Penelope in beauty but says he wants only to get home.
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The Odyssey BOOK III / TELEMACHUS VISITS NESTOR AT PYLOS. / BOOK IV / BOOK V; lines 2386-2472 confidence: high
Calypso cites Dawn's love for Orion, followed by Diana killing him, and Ceres' union with Iasion, followed by Jove killing Iasion with thunderbolts.
Calypso's examples describe Orion killed after Dawn's love and Iasion killed by Jove's thunderbolts after union with Ceres.
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The Odyssey BOOK IV / BOOK V / BOOK VI / THE MEETING BETWEEN NAUSICAA AND ULYSSES.; lines 2882-2972 confidence: low
Nausicaa admires Ulysses, says the gods have sent him, says he now looks like the gods, and wishes for a husband like him if he stayed.
Nausicaa says Ulysses now looks like the gods and imagines a future husband like him, while also reporting possible gossip that a god has come down for her.
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The Odyssey BOOK VI / THE MEETING BETWEEN NAUSICAA AND ULYSSES. / BOOK VII / RECEPTION OF ULYSSES AT THE PALACE OF KING ALCINOUS.; lines 3176-3259 confidence: medium
Ulysses describes Ogygia and Calypso, says Jove broke his ship with thunderbolts, his comrades drowned, and he reached Calypso's island by clinging to the keel; Calypso treated him kindly and offered immortality.
Calypso, a goddess, wants to make Ulysses immortal and ageless, but he says she could not persuade him.
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The Odyssey BOOK VI / THE MEETING BETWEEN NAUSICAA AND ULYSSES. / BOOK VII / RECEPTION OF ULYSSES AT THE PALACE OF KING ALCINOUS.; lines 3176-3259 confidence: medium
Calypso takes Ulysses in kindly and wants to make him immortal and ageless, but he refuses.
Calypso wishes to make Ulysses immortal and ageless, but he cannot be persuaded to accept.
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The Odyssey BOOK VII / RECEPTION OF ULYSSES AT THE PALACE OF KING ALCINOUS. / BOOK VIII / BOOK IX; lines 3801-3898 confidence: medium
Ulysses says Calypso kept him in her cave and wanted marriage; Circe likewise wanted him to marry her, but neither persuaded him.
Ulysses says Calypso kept him in her cave and wanted him to marry her, and Circe also wanted marriage, but neither persuaded him.
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The Odyssey BOOK VII / RECEPTION OF ULYSSES AT THE PALACE OF KING ALCINOUS. / BOOK VIII / BOOK IX; lines 3801-3898 confidence: medium
Calypso kept Ulysses in her cave and wanted marriage; Circe also wanted marriage; Ulysses says home and parents are dearer than a splendid foreign home, and he will tell of adventures on his return from Troy by Jove's will.
Ulysses says Calypso and Circe wanted marriage, but he was not persuaded and emphasizes country and parents as dearer than a splendid foreign home.
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The Odyssey BOOK VIII / BOOK IX / BOOK X / AEOLUS, THE LAESTRYGONES, CIRCE.; lines 4680-4781 confidence: medium
They stay with Circe for a whole twelvemonth, feasting on meat and wine.
Ulysses stays a year with Circe feasting before his men urge him to resume the homeward journey.
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The Odyssey BOOK X / AEOLUS, THE LAESTRYGONES, CIRCE. / BOOK XI / THE VISIT TO THE DEAD.88; lines 4969-5068 confidence: high
Tyro, daughter of Salmoneus and wife of Cretheus, loves the river Enipeus; Neptune disguises himself as her lover, meets her at the river mouth beneath a great blue wave, reveals himself, foretells twins, and orders secrecy.
Neptune approaches Tyro disguised as her river lover Enipeus before revealing his divine identity.
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The Odyssey BOOK X / AEOLUS, THE LAESTRYGONES, CIRCE. / BOOK XI / THE VISIT TO THE DEAD.88; lines 5171-5269 confidence: high
Ulysses sees Tityus son of Gaia stretched over nine acres while two vultures tear at his liver; the passage explains that he had violated Leto on her journey through Panopeus toward Pytho.
Tityus is tormented by vultures because he violated Leto, described as Jove’s mistress.
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The Odyssey BOOK XI / THE VISIT TO THE DEAD.88 / BOOK XII / THE SIRENS, SCYLLA AND CHARYBDIS, THE CATTLE OF THE SUN.; lines 5320-5420 confidence: high
“The only vessel that ever sailed and got through, was the famous Argo ... Juno piloted her past them for the love she bore to Jason.”
The Argo alone passed the deadly rocks because Juno piloted it for the love she bore Jason.
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The Odyssey BOOK XX / BOOK XXI / BOOK XXII / BOOK XXIII; lines 10298-10348 confidence: medium
Calypso keeps Ulysses in a cave and offers marriage, immortality, and agelessness; the Phaeacians later treat him as though divine, send him home by ship, and give gold, bronze, and raiment.
Calypso, a nymph, keeps Ulysses in a cave, feeds him, wants him to marry her, and intends to make him immortal and ageless, but he refuses persuasion.
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The Odyssey BOOK XX / BOOK XXI / BOOK XXII / BOOK XXIII; lines 10298-10348 confidence: medium
On Ogygia, the nymph Calypso keeps Ulysses in a cave, feeds him, wants marriage, and would make him immortal and ageless, but he refuses.
Calypso keeps Ulysses in a cave, feeds him, wants to marry him, and intends to make him immortal and ageless, but cannot persuade him.
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The Odyssey PREFACE TO SECOND EDITION / HENRY FESTING JONES. / THE ODYSSEY / BOOK I; lines 390-492 confidence: medium
All survivors are home except Ulysses, who longs for wife and country but is detained by Calypso in a large cave; the gods decide he should return, though Neptune still blocks him.
Calypso, a goddess, keeps Ulysses in a cave, wants to marry him, and tries to make him forget home.
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The Odyssey The Odyssey / PREFACE TO FIRST EDITION; lines 187-272 confidence: high
Other survivors have returned home, while Odysseus alone, longing for wife and homeward path, is held by Calypso in hollow caves.
Calypso, a goddess, holds Odysseus, longs to have him for her lord, and woos him with tales to make him forget Ithaca.
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The Odyssey The Odyssey / PREFACE TO FIRST EDITION; lines 187-272 confidence: high
Odysseus alone is away from home, craving wife and return, while Calypso holds him in hollow caves and wants him for her lord.
Calypso, a goddess, holds Odysseus and woos him with guileful tales so that he may forget Ithaca.
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The Odyssey ULYSSES LEAVES SCHERIA AND RETURNS TO ITHACA. / BOOK XIV / ULYSSES IN THE HUT WITH EUMAEUS. / BOOK XV; lines 6733-6832 confidence: high
The passage recounts Theoclymenus’ genealogy from Melampus through seers and descendants, including Amphiaraus loved by Jove and Apollo, Cleitus carried off by Aurora, and Apollo making Polypheides the greatest seer.
Aurora carries off Cleitus for his beauty so that he might dwell among the immortals.
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The Odyssey ULYSSES LEAVES SCHERIA AND RETURNS TO ITHACA. / BOOK XIV / ULYSSES IN THE HUT WITH EUMAEUS. / BOOK XV; lines 6733-6832 confidence: high
The genealogy continues: Amphiaraus was beloved by Jove and Apollo but died at Thebes; Aurora carried off Cleitus for his beauty; Apollo made Polypheides the greatest seer, and he prophesied in Hyperesia.
Aurora carries off Cleitus because of his beauty so that he may dwell among the immortals.
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roman
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Aeneidos LIBER V / PUBLI VERGILI MARONIS / AENEIDOS / LIBER VI; lines 4607-4731 confidence: medium
Self-slain souls occupy sad places and are restrained by the marsh and ninefold Styx; the Mourning Fields hold those consumed by harsh love, covered by myrtle woods.
The Mourning Fields contain those consumed by harsh love, Dido remains affected by her history with Aeneas, and she returns to Sychaeus whose love equals hers.
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Aeneidos LIBER X / PUBLI VERGILI MARONIS / AENEIDOS / LIBER XI; lines 9351-9432 confidence: medium
Opis laments Camilla as a virgin, says her service to Diana and carrying of arrows did not save her, but says her queen will not leave her dishonored and that whoever wounded her body will pay by death.
Camilla is described as a virgin who worshiped Diana and carried her arrows; Opis says Diana will not leave her dishonored or unavenged.
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Fasti LIBER I. / LIBER II. / NOTES: / LIBER III.; lines 4873-4998 confidence: medium
“Egeria est, quae praebet aquas… Illa Numae conjux consiliumque fuit.”
Egeria is Numa's wife and counsellor and gives ritual instruction that enables him to address the lightning crisis.
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Fasti LIBER I. / LIBER II. / NOTES: / LIBER III.; lines 5077-5141 confidence: high
The Gnosian Crown appears at night; the woman became divine through Theseus' offense, changed from perjured Theseus to Bacchus, and had given threads to an ungrateful man.
The Gnosian woman gave threads to an ungrateful man, changed from perjured Theseus to Bacchus, is called wife, and is later joined to Bacchus in bed, name, and heaven.
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Fasti LIBER I. / LIBER II. / NOTES: / LIBER III.; lines 5077-5141 confidence: high
She recalls Bacchus' promise of heaven; Bacchus hears her, embraces her, dries her tears, proposes heaven together, grants the name Libera, and says her crown from Vulcan and Venus will be made a monument.
Bacchus embraces the lamenting wife, dries her tears, proposes that they seek heaven together, and gives her the changed name Libera.
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Fasti LIBER V. / NOTES: / LIBER VI. / NOTES:; lines 12591-12687 confidence: medium
The amour of Fortuna with Servius Tullius is noted as also found in Plutarch and described as an adaptation of Grecian ideas to Roman story.
The passage explicitly refers to the amour of Fortuna with Servius Tullius.
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Fasti NOTES: / LIBER III. / NOTES: / LIBER IV.; lines 6852-6901 confidence: medium
One explanation says six Pleiades came into the embrace of gods: Sterope with Mars, Alcyone and Celaeno with Neptune, Maia, Electra, and Taygete with Jupiter; Merope married mortal Sisyphus and hides from shame.
Six Pleiades are paired with gods, while the seventh, Merope, is paired with the mortal Sisyphus and hides from shame.
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Fasti NOTES: / LIBER III. / NOTES: / LIBER IV.; lines 6903-7029 confidence: high
Attis, a beautiful Phrygian youth, binds the turret-bearing goddess with chaste love, vows always to be a boy, then fails in relation to the nymph Sagaritis; the goddess's anger demands punishment.
Attis is a Phrygian youth loved by or bound to the goddess under a chaste vow, violates the condition with Sagaritis, and suffers divine punishment.
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Fasti NOTES: / LIBER IV. / NOTES: / LIBER V.; lines 9129-9254 confidence: medium
In spring, Flora wanders; Zephyrus sees and pursues her as she flees, overpowers her, and amends the force by making her his bride. Boreas' earlier seizure from Erechtheus' house is also mentioned.
Flora recounts that Zephyrus saw her, pursued her as she fled, overcame her, and then made amends by naming her as bride.
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Fasti P. OVIDII NASONIS FASTORUM / LIBER I. / LIBER II. / NOTES:; lines 3717-3869 confidence: medium
The note says the Dolphin gave aid to Neptune in his courtship of Amphitrite.
The Dolphin is said to have aided Neptune in his courtship of Amphitrite.
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Fasti P. OVIDII NASONIS FASTORUM / LIBER I. / LIBER II. / NOTES:; lines 4308-4449 confidence: low
The commentary states that the legend must have been invented after Roman acquaintance with Greek mythology because ancient Roman religion knew nothing of nymph choirs or divine amours.
The commentary connects the Lara/Lala legend with nymphs, divine amours, and Lara's meddling loquacity toward Juturna and Juno.
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On the Nature of Things On the Nature of Things / OF THE NATURE OF THINGS / BOOK I / PROEM; lines 65-206 confidence: medium
The speaker asks Venus to lull war and win Roman peace; Mars, ruler of battle, throws his strength on her bosom and is overcome by love.
Mars, ruler of battle, is depicted reclining on Venus and overcome by love while the speaker asks her to win peace for Rome.
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The Aeneid of Virgil BOOK FIFTH / THE GAMES OF THE FLEET / BOOK SIXTH / THE VISION OF THE UNDER WORLD; lines 3562-3611 confidence: medium
Aeneas cites Orpheus calling his wife's ghost, Pollux redeeming his brother by exchange of death, and also names Theseus, Alcides, and Jove's race.
Aeneas cites Orpheus calling his wife's ghost and Pollux redeeming his brother by an exchange of death as arguments for his own request.
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The Aeneid of Virgil BOOK FIFTH / THE GAMES OF THE FLEET / BOOK SIXTH / THE VISION OF THE UNDER WORLD; lines 3796-3885 confidence: low
The passage names figures in the Wailing Fields and describes Dido the Phoenician, fresh from her death-wound, wandering in the vast forest; Aeneas recognizes her dim form through darkness.
Aeneas addresses Dido with tears and explanation, but she is unmoved, turns away, and flees to Sychaeus.
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The Aeneid of Virgil BOOK FOURTH / THE LOVE OF DIDO, AND HER END / BOOK FIFTH / THE GAMES OF THE FLEET; lines 2945-2986 confidence: medium
The winner receives a gold-wrought purple-bordered scarf depicting a boy on leafy Ida hunting stags, seized by Jove's swooping armour-bearer while guardians and hounds react below.
The prize scarf depicts a kingly boy on Ida seized in the talons of Jove's swooping armour-bearer while guardians reach upward in vain.
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The Aeneid of Virgil BOOK SEVENTH / THE LANDING IN LATIUM, AND THE ROLL OF THE ARMIES OF ITALY / BOOK EIGHTH / THE EMBASSAGE TO EVANDER; lines 5333-5401 confidence: medium
The goddess 'clasps him round' in an embrace; a familiar flame and heat pierce him, and his consort rejoices in her wiles and beauty.
A divine wife embraces and persuades the Lord of Fire, who then agrees to use his craft for warlike needs.
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The Aeneid of Virgil BOOK SEVENTH / THE LANDING IN LATIUM, AND THE ROLL OF THE ARMIES OF ITALY / BOOK EIGHTH / THE EMBASSAGE TO EVANDER; lines 5333-5401 confidence: medium
A goddess embraces her hesitant lord; he feels an old flame and heat, and the passage says his consort knows and rejoices in her wiles before he speaks, enchained by immortal Love.
The goddess uses intimate persuasion with her husband, who promises to apply his craft to war materials and then commands the making of a warrior's armor.
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The Aeneid of Virgil BOOK TENTH / THE BATTLE ON THE BEACH / BOOK ELEVENTH / THE COUNCIL OF THE LATINS, AND THE LIFE AND DEATH OF CAMILLA; lines 7534-7584 confidence: high
Latona's daughter addresses fleet Opis in heaven and says Camilla goes to fierce war, dear to her, with long-standing love of Diana.
Camilla is described as especially dear to the goddess, long devoted to Diana, and content with Diana, her darts, and maidenhood.
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The Aeneid of Virgil BOOK TENTH / THE BATTLE ON THE BEACH / BOOK ELEVENTH / THE COUNCIL OF THE LATINS, AND THE LIFE AND DEATH OF CAMILLA; lines 7534-7584 confidence: medium
Tyrrhenian mothers seek Camilla for their sons in vain; she remains content with Diana, darts, and maidenhood, while the speaker laments her war and doom.
Tyrrhenian marriage hopes fail because Camilla remains content with Diana, her darts, and maidenhood.
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The Aeneid of Virgil BOOK TENTH / THE BATTLE ON THE BEACH / BOOK ELEVENTH / THE COUNCIL OF THE LATINS, AND THE LIFE AND DEATH OF CAMILLA; lines 7534-7584 confidence: high
In the heavenly dwellings, Diana addresses Opis and says Camilla, dear to her, moves to war and wears her arms.
Camilla remains content with Diana alone, preserves maidenhood, and is especially dear to the goddess.
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The Aeneid of Virgil BOOK THIRD / THE STORY OF THE SEVEN YEARS' WANDERING / BOOK FOURTH / THE LOVE OF DIDO, AND HER END; lines 2125-2220 confidence: medium
Juno sees Dido caught in the toils and accosts Venus, saying that Venus and her boy have won fame if two gods have vanquished one woman by treachery.
Juno states that Venus and her boy have overcome Dido by treachery, while Dido's love for Aeneas dominates the passage.
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The Aeneid of Virgil BOOK THIRD / THE STORY OF THE SEVEN YEARS' WANDERING / BOOK FOURTH / THE LOVE OF DIDO, AND HER END; lines 2542-2634 confidence: medium
Dido tells Anna of a Massylian priestess from the far Aethiopian region of Atlas, associated with the Hesperides, a dragon, and holy boughs on a tree.
Dido frames the rite as a way to restore Aeneas to her or release herself from love, using a priestess, pyre, personal objects, and chthonic invocations.
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The Aeneid of Virgil PREFACE / THE AENEID / BOOK FIRST / THE COMING OF AENEAS TO CARTHAGE; lines 659-739 confidence: medium
Venus considers new schemes: Cupid may take Ascanius' form, use his gifts, and kindle the queen to madness.
Venus intends Cupid to bind Dido by passionate love for Aeneas and describes him breathing hidden fire and unsuspected poison into her.
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The Georgics THE GEORGICS / GEORGIC I / GEORGIC II / GEORGIC III; lines 1809-1939 confidence: medium
"Pan, God of Arcady, / Snared and beguiled thee, Luna, calling thee / To the deep woods; nor thou didst spurn his call."
The passage says Pan, God of Arcady, used a snowy bribe of wool to snare and beguile Luna and call her to the deep woods.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 2710-2805 confidence: medium
Psyche is praised and wondered at for beauty, yet no king, prince, or superior suitor woos her; her two sisters marry kings while she sits alone and hates her beauty.
Psyche's beauty is praised as divine and compared with Venus, yet it leaves her without suitors and leads to her deathlike bridal fate.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 2710-2805 confidence: high
Her father suspects divine envy and goes to Apollo's oracle at Milet, praying and offering sacrifice to seek a husband for his daughter.
Apollo's oracle appoints Psyche to be placed on a high rock for a husband who is not human but serpent-like, winged, fiery, and cosmically powerful.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 2807-2896 confidence: medium
Psyches rests and bathes; divine meats and wines are brought without visible persons, as if by wind; invisible singing and harp music make her seem among a multitude.
An unknown husband comes at night, consummates the marriage with Psyches, calls her spouse and wife, and departs before day in a setting of supernatural service.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 2898-2976 confidence: medium
The sisters say Psyches has treasure and has "gotten a god to her husband"; they add that she may become a goddess, has voices to serve her, and that the winds obey her.
The sisters state that Psyches has a god for her husband and may be made a goddess through his affection.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 2978-3058 confidence: medium
At night, Psyche's husband warns that her sisters are setting snares and want her to behold his face; if she sees it, she will see him no more.
Psyche is bound to an unseen nocturnal husband whose face is forbidden and whose child may be divine.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3060-3150 confidence: high
The sisters discuss Psyche's inconsistent descriptions of her husband, infer that she either lied or never saw him, and speculate that an unseen husband might be a god and the child a young god.
The passage presents a husband whom Psyche has not seen, speculation that he is a god, and a final visual reveal that he is Cupid.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3152-3241 confidence: high
Psyches beholds Cupid's beauty and divine visage; his bow, quiver, and arrows lie at the bed's foot, and she pricks herself with an arrow so that her love increases.
Psyches discovers that the husband she had approached as a possible beast is Cupid, a divine figure and son of Venus.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3243-3325 confidence: medium
Psyche travels seeking Cupid; Cupid is in his mother’s chamber mourning the wound made by oil from a burning lamp.
Psyche seeks her husband Cupid while he is wounded; Venus learns that Psyche is the one who has troubled her son.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3243-3325 confidence: medium
Venus rebukes Cupid for breaking her command and for embracing her most mortal foe, who would become Venus’s daughter.
Venus frames Cupid’s bond with Psyche as a marriage that will be dearly bought, and as Cupid’s embrace of Venus’s mortal foe.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3327-3412 confidence: medium
Juno and Ceres come to Venus; Venus asks them to seek Psyches, described as a vagabond, and mentions her son Cupid.
Psyches is connected to Cupid as wife and beloved, is sought by Venus for punishment, and seeks mercy from other goddesses.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3413-3456 confidence: medium
"Then Psyches cast off likewise by Juno... without all hope of the recovery of her husband"; she asks where to hide from Venus.
Psyche seeks recovery of her husband, receives no help from Juno, and prepares to face Venus's anger.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3458-3543 confidence: medium
Psyches does not attempt the confused grain task; a pismire takes pity, calls the “sons of the ground,” and the ants separate and order each kind of grain.
Psyches is described as Cupid's espouse and as one of two lovers separated from one another, while Venus calls the marriage illegitimate and the unborn child a bastard.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3544-3629 confidence: medium
Jupiter’s eagle recalls carrying Ganimedes to heaven, speaks to Psyches, says even the gods fear the Stygian water, takes her bottle, fills it by flying through the dragons, and brings it back.
Psyches is explicitly called Cupid’s wife and is subjected to escalating tasks by Venus, including a journey to hell.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3630-3713 confidence: medium
When she opens the box, she perceives no beauty, but only an "infernall and deadly sleepe" and falls down like "a sleeping corps."
The opened box causes a deadly sleep in which Psyche lies like a sleeping corpse, and Cupid removes the sleep and awakens her with his arrow.
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The Golden Asse THE TWENTIETH CHAPTER / THE TWENTY-FIRST CHAPTER / THE MARRIAGE OF CUPID AND PSYCHES / THE TWENTY-SECOND CHAPTER; lines 3630-3713 confidence: high
Cupid, healed, escapes through a window, receives his wings, flies to Psyche, wipes the sleep from her face, puts it back in the box, awakens her with an arrow-tip, rebukes her curiosity, and sends her to his mother.
Cupid rescues Psyche from the sleep and then petitions Jupiter to secure their union.
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The Metamorphoses of Ovid, Books I-VII BOOK I. / BOOK II. / BOOK III. / BOOK IV.; lines 313-336 confidence: medium
"the Sun assumed the form of Eurynome, that he might enjoy her daughter Leucothoë"
The Sun assumes Eurynome's form so that he might enjoy Leucothoë.
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The Metamorphoses of Ovid, Books I-VII BOOK I. / BOOK II. / BOOK III. / BOOK IV.; lines 313-336 confidence: medium
The Sun assumes Eurynome's form to approach Leucothoë; Clytie becomes jealous of her sister and is transformed into a sunflower.
The Sun assumes Eurynome's form in order to enjoy Leucothoë.
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The Metamorphoses of Ovid, Books I-VII BOOK THE FOURTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6484-6541 confidence: medium
The explanation says there is no ascertained historical basis for Leucothoë being buried alive by Orchamus or Clytie becoming a sunflower; it proposes plant-lore explanations involving the frankincense tree called Leucothoë, Apollo and physic, and sunflower antagonism toward frankincense.
Leucothoë is said to love Apollo, and the explanation connects this love with a medicinal aromatic drug from the frankincense tree and Apollo's invention of physic.
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The Metamorphoses of Ovid, Books I-VII BOOK THE FOURTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6484-6541 confidence: low
The explanation says no historical basis is known for Leucothoë being buried by Orchamus or Clytie becoming a sunflower; it proposes a natural-philosophical basis involving a frankincense tree called Leucothoë, Apollo and physic, and sunflower rivalry.
Leucothoë is said to have fallen in love with Apollo, while Clytie is described as her rival whose jealousy is explained through a plant relation.
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The Metamorphoses of Ovid, Books I-VII BOOK THE SECOND. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3609-3674 confidence: high
The narrator identifies herself as a royal virgin, daughter of Coroneus, and says the Ocean god saw her on the shore, desired her, entreated her, prepared violence, and followed her.
The Ocean god desires and pursues the narrator; after she calls for aid, a virgin helps her and she becomes a black-feathered bird.
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The Metamorphoses of Ovid, Books I-VII BOOK THE THIRD. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4913-5002 confidence: high
The Fable IV heading and argument state that Juno, angry at Semele's intrigue with Jupiter, takes Beroë's form, creates suspicions, recommends a proof of constancy, and Semele obtains Jupiter's reluctant promise to appear in his usual splendor and majesty with Juno.
Juno, Jupiter's wife, is angered by Semele's pregnancy from Jupiter and resolves to destroy Semele.
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The Metamorphoses of Ovid, Books I-VII BOOK THE THIRD. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4913-5002 confidence: medium
In Beroe's form, Juno voices doubt that Semele's lover is truly Jupiter and advises Semele to seek a pledge by asking him to come in the same majesty and form in which Juno receives him, with his royal ensigns.
Juno persuades Semele to ask Jupiter to appear in the greatness and form in which he is received by Juno, and Jupiter swears to grant her unnamed request.
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The Metamorphoses of Ovid, Books I-VII BOOK THE THIRD. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5004-5027 confidence: high
Semele, “about to perish by the complaisance of her lover,” says: “Present thyself to me, just such as the daughter of Saturn is wont to embrace thee...”
Semele requests that her divine lover present himself as he does to the daughter of Saturn; the narrator says she is about to perish by her lover’s compliance.
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The Metamorphoses of Ovid, Books I-VII BOOK THE THIRD. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5004-5027 confidence: medium
Semele is described as overjoyed at what is her misfortune and as about to perish by the complaisance of her lover.
Semele, the god's beloved, asks him to appear as he does to the daughter of Saturn; the narration states she is about to perish through her lover's compliance.
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The Metamorphoses of Ovid, Books I-VII BOOK V. / BOOK VI. / BOOK VII. / INTRODUCTION.; lines 403-474 confidence: low
Around A.D. 8, Augustus ordered Ovid to leave Rome for Tomi on the Euxine shore; Ovid left his wife, never returned from exile, and died at Tomi in A.D. 18.
Ovid leaves behind a wife to whom he is devotedly attached when he goes into exile.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FIFTH. / EXPLANATION. / EXPLANATION.; lines 8229-8324 confidence: high
Erycina/Venus, seated on her mountain, embraces Cupid and orders him to shoot Pluto, asking why Tartarus should be exempt and saying Ceres's daughter will be a virgin unless Cupid joins her to her uncle.
Venus orders Cupid to shoot Pluto to extend Love's power and secure Ceres's daughter for him; Cupid then wounds Pluto in the breast.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FIFTH. / EXPLANATION. / EXPLANATION.; lines 8229-8324 confidence: high
Venus/Erycina sees Pluto, embraces Cupid, and urges him to shoot Pluto; she argues that Love should extend to Tartarus and that Ceres's daughter should be joined to her uncle rather than remain virgin.
Venus addresses Cupid as her son and orders him to shoot Pluto so that Love's dominion extends to Tartarus and Ceres's daughter is joined to her uncle.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FOURTH. / EXPLANATION. / EXPLANATION.; lines 6385-6481 confidence: high
Clytie envies Leucothoë because of the Sun's love, publishes the intrigue out of resentment at a rival, and brings it to the father's notice.
Clytie envies Leucothoë because the Sun loves her and reveals the intrigue to Leucothoë's father.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FOURTH. / EXPLANATION. / EXPLANATION.; lines 6385-6481 confidence: high
The Sun comes no more to Clytie, ends intercourse with her, and she pines, loathes the other Nymphs, and sits night and day on bare ground with dishevelled hair.
After the Sun rejects her, Clytie fasts, gazes toward him, becomes rooted as a flower, and still turns toward the Sun while retaining passion.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FOURTH. / EXPLANATION. / EXPLANATION.; lines 6385-6481 confidence: medium
Clytie, jealous of the Sun's love for Leucothoë, reveals the intrigue and brings it to Leucothoë's father.
Leucothoë is loved by the Sun, exposed by Clytie, and buried alive by her father because of the affair.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE FOURTH. / EXPLANATION. / EXPLANATION.; lines 6385-6481 confidence: high
The Sun comes no more to Clytie and ends his intercourse with her, despite the possibility that love and grief might excuse her betrayal.
The rejected Clytie fasts, gazes toward the Sun, becomes rooted, and as a flower still turns toward him.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE SECOND. / EXPLANATION. / EXPLANATION.; lines 3358-3456 confidence: medium
Jupiter sees a virgin of Nonacris; she is not described as occupied with wool or hair arrangement, but as bearing javelin or bow, a warrior of Phoebe and beloved by Trivia.
Jupiter sees Callisto, feels renewed desire, calls the encounter a stolen embrace, and commits violence against her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE SECOND. / EXPLANATION. / EXPLANATION.; lines 3358-3456 confidence: high
Jupiter sees her weary and unprotected, speaks of a stolen embrace, takes Diana’s form and dress, kisses and embraces her, overcomes her resistance, then returns to heaven; Callisto leaves the grove in distress.
Jupiter assumes Diana’s form and dress to approach Callisto, kisses and embraces her, and overcomes her resistance.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE SECOND. / EXPLANATION. / EXPLANATION.; lines 3458-3554 confidence: high
The fable summary states that Juno transforms Calisto into a bear, Arcas nearly kills his unrecognized mother, Jupiter places mother and son as the Great and Little Bear, and a raven is changed from white to black for garrulity.
Calisto is described as attracting Jupiter and as his mistress; Juno, Jupiter’s spouse, targets her body for punishment.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE SECOND. / EXPLANATION. / EXPLANATION.; lines 3556-3606 confidence: high
Coronis is called the most beautiful in Haemonia and is said to have pleased the Delphian God as long as she remained chaste or not subject to remark.
Coronis pleases the Delphian God while chaste, and her infidelity becomes the hidden offence reported by the god's bird.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / BOOK THE SECOND. / EXPLANATION. / EXPLANATION.; lines 3556-3606 confidence: medium
Coronis of Larissa is described as most beautiful in Hæmonia and as pleasing the Delphian god while chaste or not the object of remark.
Coronis pleases the Delphian god while chaste, and the bird of Phoebus discovers her infidelity.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / BOOK THE FOURTH. / EXPLANATION.; lines 6212-6279 confidence: medium
Dercetis, after offending Venus, is said to be made to love a young man, bear a daughter, kill the lover, expose the child, drown herself, and receive a Syrian temple and honors as a goddess.
After Dercetis offends Venus, Venus causes her to fall in love, leading to killing, exposure of a child, and suicide by drowning.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / BOOK THE FOURTH. / EXPLANATION.; lines 6281-6383 confidence: high
The Sun loves Leucothoë alone, other named women no longer engage him, and Leucothoë is identified as daughter of Eurynome and Orchamus, ruler descended from Belus.
The Sun loves Leucothoë alone, enters her chamber, reveals himself, and embraces her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / BOOK THE FOURTH. / EXPLANATION.; lines 6281-6383 confidence: high
The Sun, who burns lands with flames, is consumed by a new flame, fixes his eyes on Leucothoë, alters his rising and setting, lengthens winter hours, and darkens in troubled light.
The Sun loves Leucothoë alone, fixes his gaze on her, enters her chamber, and embraces her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE FIFTH.; lines 7916-8005 confidence: high
Athis/Atys is described as Indian in birth to distinguish him from the Phrygian youth of the same name, beloved by Cybele and treated in Ovid’s Fasti.
The footnote identifies a Phrygian youth Athis/Atys as beloved by Cybele.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE FIFTH.; lines 7916-8005 confidence: medium
Footnote says Athis or Atys is described as Indian to distinguish him from the Phrygian youth of the same name, beloved by Cybele, whose story Ovid tells in the Fasti.
The Phrygian Atys is described as a youth beloved by Cybele.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE SEVENTH.; lines 10816-10900 confidence: medium
Medea is daughter of Aeetes, king of Colchis; Juno, favoring Jason, persuaded Venus to inspire Medea’s love for him.
The passage says Juno, favoring Jason, persuaded Venus to inspire Medea with love for him.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE SIXTH.; lines 9211-9304 confidence: high
The Maeonian Nymph depicts Europa deceived by the bull form, seemingly on a real sea, looking back toward land, calling to companions, fearing the waves, and drawing up her feet.
Arachne’s web lists many gods taking animal, human, elemental, or material forms to deceive, seize, impregnate, or beget with female figures.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE SIXTH.; lines 9306-9426 confidence: high
Asterie was ravished by Jupiter as an eagle; fleeing his wrath, she was changed into a quail and afterward into stone.
Jupiter and Neptune take forms including eagle, satyr, fire, bull, river, and ram in accounts of ravishment, seduction, or violence.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 10504-10595 confidence: high
Fable summary: Boreas fails to obtain Erectheus' consent for Orithyïa, carries her to Thrace, has winged sons Calaïs and Zethes by her, and they embark with Jason for the Golden Fleece.
Boreas fails to obtain Erectheus' consent for marriage with Orithyïa and then carries her away by force.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 10504-10595 confidence: high
The fable summary says Boreas fails to obtain Erectheus’ consent to marry Orithyïa, carries her to Thrace, and has two winged sons, Calaïs and Zethes, who later join Jason in the Golden Fleece quest.
Boreas, a divine wind figure, fails to obtain Orithyïa through consent and carries her away, after which she becomes his wife.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 12164-12245 confidence: high
The Fable VII summary says Cephalus resisted Aurora, tested Procris in disguise, Procris became a huntress, later gave Cephalus Diana’s dog and dart, and the dog was turned to stone while hunting a beast sent by Themis after Œdipus solved the Sphinx’s riddle.
Aurora becomes enamoured of Cephalus while he is hunting, carries him off against his will, and is rejected because he remains devoted to Procris.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 12164-12245 confidence: high
The fable summary states that Cephalus resists Aurora, tests Procris in disguise, reconciles with her, receives Diana’s dog and dart from her, and that the dog is turned to stone while hunting Themis’s beast.
Aurora becomes enamoured of Cephalus and carries him off against his will while he is hunting.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 12386-12480 confidence: medium
The explanation distinguishes two princes named Cephalus, gives their parentage and associations with Aurora or Procris, and states that Apollodorus, Ovid, and other writers handle the two figures differently.
The explanation states that Aurora carried off a Cephalus and that, in Ovid and other writers, the son of Deïoneus was carried off by Aurora and later returned to Procris.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 12386-12480 confidence: medium
The explanation distinguishes two princes named Cephalus; one is the son of Mercury and Herse, another the son of Deïoneus and husband of Procris. It says one was carried off by Aurora, and that Apollodorus, Ovid, and other writers treat or confound these traditions differently.
The explanatory note says Aurora carried off Cephalus and that Ovid and other writers made the Cephalus who returned to Procris the one carried off by Aurora.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 12482-12529 confidence: medium
Footnotes mention jealousy linked to the names Aura and Aurora, a custom of catching the dying person's breath, and identify Telamon and Peleus as two sons who levied troops.
The explanation presents Cephalus' early hunting as the origin of the story of his love for Aurora, and a footnote calls Aurora a former rival.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1815-1899 confidence: high
Cupid replies that his bow will shoot Apollo, flies to Parnassus, draws a golden desire arrow and a leaden repelling arrow, wounds Daphne with one and Apollo with the other.
Cupid uses opposed arrows so that Apollo immediately loves Daphne while Daphne flees even the name of lover.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1815-1899 confidence: high
The fable heading says Apollo loves Daphne, daughter of Peneus; she flees, he pursues, she implores her father, and she becomes a laurel.
Apollo falls in love with Daphne, covets union, and pursues her while she rejects lovers and flees.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1815-1899 confidence: medium
The fable heading says Apollo loves Daphne, daughter of Peneus; she flees, he pursues, she implores her father, and she becomes a laurel.
The fable summary states that Daphne implores her father during Apollo’s pursuit and is changed into a laurel.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1815-1899 confidence: high
The fable summary states that Apollo loves Daphne, daughter of the river Peneus; she flees him, asks her father for aid, and is changed into a laurel.
Apollo falls in love with Daphne after Cupid’s arrow, while Daphne rejects love and flees from him.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1901-1990 confidence: high
Apollo asks the nymph to stay, says he is not an enemy, compares her to animals fleeing predators, and says love causes him to follow.
Apollo explicitly says love causes him to follow Daphne, while Daphne flees in fear and Apollo attempts to overtake her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1901-1990 confidence: high
The god asks the nymph to stay, compares her flight to prey fleeing predators, identifies his divine status and powers, and says love has wounded him beyond his healing arts.
A god follows the daughter of Peneus out of love while she flees in fear and asks for aid.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1992-2095 confidence: high
Footnote 82 explains the greyhound-and-hare comparison for Apollo’s pursuit of Daphne and the nymph’s escape; it also says Pope imitated the passage with Lodona pursued by Pan and transformed into a river.
Apollo’s pursuit of Daphne is described as eager, while the nymph’s escape is anxious; the note compares this to a greyhound pursuing a hare.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1992-2095 confidence: medium
The note describes the comparison of Apollo’s pursuit of Daphne to a greyhound chasing a hare, highlighting the god’s eagerness and the nymph’s anxiety to escape.
Apollo’s pursuit of Daphne is described in terms of his eagerness and her anxious flight; the cited imitation repeats the pattern with Pan and Lodona.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2098-2203 confidence: high
A learned prince called Apollo pursues Daphne to the river Peneus, where she dies; nearby laurels or the Greek meaning of Daphne as laurel are offered as foundations for the transformation fable.
Daphne is pursued by Apollo or a prince called Apollo, and Io is pursued by Jupiter, who stops her flight.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2098-2203 confidence: high
Jupiter sees Io returning from her father’s stream, tells her to enter the shaded grove, offers divine protection, and identifies himself as holder of heaven’s sceptre and wielder of lightning.
Jupiter sees Io, invites her into the grove, pursues her when she flees, covers the earth with darkness, and forces her modesty.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2225-2297 confidence: high
The explanation says Juno's jealousy put Io under Argus's guard; Jupiter killed Argus and placed Io on a cow-prowed vessel, which gave rise to the transformation story; Greek writers also link Bosphorus to Io's passage as a cow.
Io is Jupiter's mistress or beloved, and Jupiter tries to conceal her from Juno's jealousy.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2225-2297 confidence: high
The fable summary says Jupiter changed Io into a cow to conceal her from Juno, then had to give her to Juno, who committed her to Argus's charge.
Io, Jupiter's mistress, is changed by Jupiter into a cow or heifer to hide her from Juno.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2225-2297 confidence: medium
The commentary reports Greek authors saying Io was daughter of Inachus, carried by Jupiter to Crete, mother of Epaphus, associated with Egypt, married to Apis or Osiris, guarded by Argus through Juno's jealousy, and placed by Jupiter on a vessel bearing a cow figure; it also links Bosphorus to Io's passage as a cow.
Juno, jealous of Jupiter's intrigue, obtains the transformed Io and places her under Argus's guard to prevent theft or recovery.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2389-2453 confidence: medium
The fable synopsis states that Pan loves Syrinx, pursues her when she flees, and that the Naiads change her into reeds; Pan joins the reeds into a seven-piped instrument bearing Syrinx’s name.
Pan, a god, falls in love with Syrinx and pursues her after she rejects his suit.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 2389-2453 confidence: medium
Syrinx rejects Pan's suit, flees through pathless places, reaches the sandy river Ladon, is stopped by the waters, and prays to her watery sisters to change her.
Pan falls in love with Syrinx, she rejects his suit, and he pursues her until her transformation.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3677-3764 confidence: high
The raven rejects the recall warning and tells Apollo he saw Coronis lying with a youth of Haemonia; Apollo’s laurel, looks, plectrum, and color leave him.
Apollo kills Coronis, his mistress, after hearing of her infidelity.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3677-3764 confidence: high
The raven ignores the warning and tells his master that he saw Coronis lying down with a youth of Haemonia.
Apollo's mistress Coronis is reported unfaithful, and Apollo kills her with an arrow in rage.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3919-4011 confidence: high
The fable heading states that Mercury loves Herse, daughter of Cecrops, seeks Aglauros’s help to access her, and is refused unless he promises a large sum of money.
Mercury falls in love with Herse, is astonished by her beauty, and seeks help to gain access to her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3919-4011 confidence: high
Herse is described as surpassing the other virgins in beauty; Mercury is astonished and burns with desire while suspended in the air.
Mercury, a god and son of Jupiter, falls in love with Herse and asks Aglauros to assist him in gaining access to her.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4054-4143 confidence: medium
The explanation reports Cicero's statement that there were several ancient persons named Mercury and suggests that one loved Herse, daughter of Cecrops, while Aglauros became jealous.
The explanation says Mercury loved Herse, and Envy uses Herse's fortunate marriage and the god's beautiful appearance to torment Aglauros.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4054-4143 confidence: medium
Envy places Herse, Herse’s fortunate marriage, and the beautiful god before Aglauros; Aglauros is tormented day and night and burns at Herse’s good fortune like fire under thorny reeds.
Aglauros’ jealousy centers on her sister Herse’s fortunate marriage and the god, and she blocks Mercury from reaching Herse’s apartment.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4146-4217 confidence: medium
Jupiter calls his winged son, described as trusty minister, and commands him to descend to Sidonis and drive the king's herd from the mountain toward the sea-shore.
Jupiter's concealed love is mentioned, he is called the lover, and he approaches Europa through the bull disguise.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4146-4217 confidence: high
After the grandson of Atlas returns to the skies, his father commands him to go to the Sidonian region and drive the king's mountain-fed herd toward the sea-shore.
Jupiter conceals the cause of his love, appears as a gentle bull, and gains Europa's trust through the disguise.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5030-5135 confidence: medium
The fable heading says Semele is visited by Jupiter, cannot support the effulgence of his lightning, burns to ashes, Bacchus is preserved, and Tiresias decides the dispute between Jupiter and Juno.
Semele is visited by Jupiter and is burned when her mortal body cannot endure his divine lightning or ethereal shock.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5030-5135 confidence: high
Fable V states that Jupiter visits Semele; he uses a less baneful thunder, but Semele's mortal body cannot endure the ethereal shock and she is burned among her nuptial presents.
Semele is visited by Jupiter in thunder and cannot endure the ethereal shock, resulting in her burning.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6544-6633 confidence: medium
Crocus and Smilax are either a chaste married pair changed into flowers or, in another story, a youth and Nymph transformed after Crocus rejected Smilax’s advances.
Smilax’s rejected advances toward Crocus and Salmacis’s rejected pursuit of Hermaphroditus both present a nymph desiring an unwilling youth; Salmacis later seizes him in the water according to the summary.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6544-6633 confidence: medium
The fable summary says Salmacis loves Hermaphroditus, is rejected, seizes him while he bathes, and the two become one body with different sexes.
Salmacis desires Hermaphroditus, asks for marriage or stolen pleasure, touches him, and is rejected.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 7298-7393 confidence: medium
Danaë is confined after Acrisius hears a prophecy about her child; Jupiter is said to seduce her as a shower of gold, while a rationalizing account says Prœtus bribed guards with gold; Danaë bears Perseus, and mother and child are exposed in a boat, reach Seriphus, and are received by Polydectes.
The passage states that Jupiter seduced Danaë in the form of a shower of gold.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 8991-9085 confidence: medium
Bochart attributes the Arethusa and Alpheus story to equivocal names: Phoenicians named a willow-surrounded fountain Alphaga, others called it Arith, and later Greeks associated these names with their river Alpheus.
The explanation describes Alpheus as a river god lover of the Nymph Arethusa and says the tradition imagined his crossing or passing beneath the sea to Sicily.
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The Metamorphoses of Ovid, Books I-VII EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 8991-9085 confidence: medium
Bochart’s explanation says Phoenicians named the Sicilian fountain from terms associated with willows or a stream, and later Greeks linked it with their river Alpheus and imagined that Alpheus crossed the sea to Sicily.
The explanation describes the poetic story of Alpheus’ passion for Arethusa and the belief that his river passes under the sea to her fountain.
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The Metamorphoses of Ovid, Books I-VII INTRODUCTION. / BOOK I. / BOOK II. / BOOK III.; lines 284-310 confidence: high
Juno rejoices in Actaeon’s fate, hates Semele and Agenor’s house, assumes Beroe’s form, contrives Semele’s destruction by Jupiter’s lightning, and Bacchus survives from his mother’s womb and is raised on earth.
Semele is identified as Jupiter’s favorite, and Juno hates her and contrives her destruction.
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The Metamorphoses of Ovid, Books I-VII INTRODUCTION. / BOOK I. / BOOK II. / BOOK III.; lines 284-310 confidence: medium
Juno hates Semele and Agenor’s house, assumes Beroe’s form, contrives Semele’s destruction by Jupiter’s lightning, and Bacchus is saved alive from his mother’s womb and raised on earth.
Juno hates Semele, assumes Beroe’s form, and contrives Semele’s destruction by Jupiter’s lightning.
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The Metamorphoses of Ovid, Books I-VII LITERALLY TRANSLATED WITH NOTES AND EXPLANATIONS / INTRODUCTION. / BOOK I. / BOOK II.; lines 250-281 confidence: high
Jupiter visits earth to repair fire damage, sees Calisto, assumes Diana's form and debauches her; Juno changes Calisto into a bear; Arcas is about to shoot her, and Jupiter places both among the constellations.
Jupiter assumes Diana's form before debauching Calisto and later assumes bull form to carry Europa over the sea; Mercury also debauches Herse.
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The Metamorphoses of Ovid, Books I-VII The Metamorphoses of Ovid, Books I-VII / LITERALLY TRANSLATED WITH NOTES AND EXPLANATIONS / INTRODUCTION. / BOOK I.; lines 225-247 confidence: medium
Jupiter ravishes Io and changes her into a cow; Juno entrusts her to Argus; Mercury relates Syrinx's transformation into reeds, kills Argus, and Juno places Argus's eyes in the peacock's tail.
Io is described as ravished by Jupiter and then changed by him into a cow.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE ELEVENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6157-6253 confidence: high
Peleus is described as distinguished by having a goddess as wife; the footnote explains that Nereus, father of Thetis, was a sea divinity gifted with prophecy.
Peleus is said to be uniquely distinguished because a goddess was given to him for a wife.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE ELEVENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6157-6253 confidence: high
Peleus is said to be distinguished because, unlike others, a goddess was given to him as wife.
Peleus is singled out because a goddess was given to him as wife.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE NINTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3008-3100 confidence: medium
Iole addresses grieving Alcmena and begins telling of her sister Dryope, described as a beautiful Œchalian maid and only daughter of her mother; Dryope suffered violence from the god of Delphi and Delos, and Andræmon married her.
Dryope is said to have suffered violence from the god that owns Delphi and Delos before her marriage to Andræmon.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE NINTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3008-3100 confidence: low
Iole begins the account of Dryope, a beautiful Œchalian maid, only daughter of her mother, who suffered violence from the god of Delphi and Delos and then married Andræmon.
Dryope is said to have suffered violence from the god associated with Delphi and Delos and afterward married Andræmon.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE NINTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 3188-3238 confidence: medium
Aurora, daughter of Pallas, complains about the aged years of her husband.
Aurora complains about her husband's aged years, Ceres complains about Iäsion growing grey, and Venus offers to renew Anchises' years.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE TENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4421-4482 confidence: high
Cyparissus is described as born at Carthaea in Cea, probably talented, deemed Apollo's favourite, and transformed into a Cypress, with the transformation explained by name resemblance.
The passage explicitly describes youths beloved by gods; Cyparissus is Apollo's favourite and said by some to be beloved by Sylvanus, while Jupiter desires Ganymede.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE TENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4421-4482 confidence: high
Cyparissus is described as a youth from Carthaea in Cea, deemed a favorite of Apollo; his transformation into a cypress is linked to the resemblance between his name and the Greek name of the tree.
The passage describes Cyparissus as favored by Apollo and beloved by Sylvanus in another account, and frames Ganymede as one of the youths beloved by gods.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE TENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4421-4482 confidence: high
The fable states Jupiter is charmed by Ganymede, transforms into an eagle, carries him to Heaven, and makes him cup-bearer; the narration says Jupiter desires Ganymede, takes eagle form, carries off the youth of Ilium, and Ganymede serves nectar to Jove against Juno's will.
Jupiter, desiring Ganymede, becomes an eagle and carries him off.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE THIRTEENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 9771-9861 confidence: medium
Galatea weeps and tells the daughter of Crataeis that she is daughter of Nereus and Doris, guarded by sisters, and escaped the Cyclops through the waves.
Galatea, a Nereid daughter of Nereus and Doris, says she escaped the Cyclops' passion through the waves while loving Acis.
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The Metamorphoses of Ovid, Books VIII-XV BOOK THE THIRTEENTH. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 9771-9861 confidence: medium
Galatea, daughter of Nereus and Doris and guarded by sisters, weeps and tells Scylla she escaped the Cyclops’ passion only through the waves.
Galatea, a Nereid and daughter of Nereus and Doris, says Acis attached her to himself alone and that she loved him while the Cyclops pursued her.
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The Metamorphoses of Ovid, Books VIII-XV BOOK XI. / BOOK XII. / BOOK XIII. / BOOK XIV.; lines 373-392 confidence: medium
Aeneas is made a Deity; other kings succeed him; in Procas's time Pomona is beloved by Vertumnus, who assumes old-woman form, tells the story of Anaxarete changed into stone for cruelty, reassumes youth form, and prevails upon Pomona.
Pomona is beloved by Vertumnus, who assumes an old-woman form, tells a story, reassumes the shape of a youth, and prevails upon the Goddess.
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The Metamorphoses of Ovid, Books VIII-XV BOOK XI. / BOOK XII. / BOOK XIII. / BOOK XIV.; lines 373-392 confidence: medium
In the time of Procas, Pomona is loved by Vertumnus, who assumes an old woman's form, tells of Anaxarete's change into stone for cruelty, returns to youthful shape, and prevails upon the goddess.
Vertumnus loves Pomona, assumes the form of an old woman, tells an exemplary story, reassumes youthful form, and prevails upon the goddess.
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The Metamorphoses of Ovid, Books VIII-XV BOOK XIII. / BOOK XIV. / BOOK XV. / BOOK THE EIGHTH.; lines 411-502 confidence: high
From the tower, Nisus's daughter watches the fighting, learns the chiefs and their equipment, and especially admires Minos in helmet, shield, with javelin and bow, and on a white horse.
Scylla loves Minos, the enemy of her father and city, and resolves to deliver her country with herself as dowry.
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The Metamorphoses of Ovid, Books VIII-XV BOOK XIV. / BOOK XV. / BOOK THE EIGHTH. / EXPLANATION.; lines 635-725 confidence: high
The bull-and-youth monster is shut in the maze; a third supply chosen by lot each nine years is sent after earlier Athenian bloodshed. With the maiden’s thread, the son of Aegeus finds the way back, carries away Minos’s daughter, and deserts her at Dia.
Theseus abandons Ariadne on Dia/Naxos, after which Liber embraces and aids her.
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The Metamorphoses of Ovid, Books VIII-XV BOOK XIV. / BOOK XV. / BOOK THE EIGHTH. / EXPLANATION.; lines 635-725 confidence: high
The son of Aegeus carries away the daughter of Minos, sails for Dia, and abandons her on those shores; the footnote identifies Dia as another name for Naxos.
Ariadne is abandoned by Theseus; Liber/Bacchus then embraces and aids her and immortalizes her crown.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE FOURTEENTH. / EXPLANATION. / EXPLANATION.; lines 10447-10540 confidence: high
Fable III summary: Apollo is enamoured of the Sibyl and offers her as many years as she can grasp grains of sand; she forgets to ask for continued youth and becomes gray and decrepit.
Apollo loves the Sibyl and grants a longevity offer measured by sand, but she omits the request for continued youth and becomes decrepit.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE FOURTEENTH. / EXPLANATION. / EXPLANATION.; lines 10447-10540 confidence: high
Apollo is enamoured of the Sibyl and offers her as many years as she can grasp grains of sand.
Apollo is enamoured of the Sibyl and offers her years counted by grains of sand; because she omits a request for enduring youth, she becomes aged and decrepit.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE FOURTEENTH. / EXPLANATION. / EXPLANATION.; lines 10542-10617 confidence: high
The prophetess denies being a goddess and says Phœbus offered her eternal life if she yielded to him; when invited to choose a wish, she asked for as many birthdays as the dust had particles.
The Sibyl reports that Phœbus loved her and offered eternal life, youth, and gifts if she submitted to his desires; she rejected the offers.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE FOURTEENTH. / EXPLANATION. / EXPLANATION.; lines 10542-10617 confidence: high
The Sibyl says Phœbus loved her and offered life without end, and also youth, if she yielded to him; she refused and remains unmarried.
The Sibyl says Phœbus loved her and offered life without end and youth if she submitted to his desires; she refused and remained unmarried.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE TENTH. / EXPLANATION. / EXPLANATION.; lines 4263-4355 confidence: medium
Diodorus's version is summarized: Cybele, daughter of Mæon, loves the shepherd Attis; her father orders him killed; Cybele leaves with Marsyas across the Phrygian mountains; Apollo or a priest of Apollo takes her to the Hyperboreans, where she dies.
Cybele's love for Attis, his rejection or death, and Apollo's love for Cyparissus place mortal youths in relationships with powerful divine figures.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE THIRTEENTH. / EXPLANATION. / EXPLANATION.; lines 9640-9674 confidence: medium
Anchises is addressed as one who enjoyed Venus' favour; the dove was consecrated to Venus.
Anchises is described as having enjoyed the favour of Venus in a note glossing 'consort.'
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / BOOK THE THIRTEENTH. / EXPLANATION. / EXPLANATION.; lines 9640-9674 confidence: medium
Anchises is described as having enjoyed the favour of Venus; the dove was consecrated to Venus.
Anchises is said to have enjoyed the favour of Venus.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / BOOK THE TWELFTH. / EXPLANATION.; lines 7564-7646 confidence: medium
At a truce feast, Nestor recounts that Cænis, daughter of Elatus, was transformed by Neptune into an invulnerable man; at Pirithoüs’ wedding feast, Eurytus’ attempted assault on Hippodamia sparks a Centaur-Lapith battle, Cæneus is crushed under tree trunks, and Neptune changes his body into a bird.
Cænis, after yielding to Neptune’s caresses, is transformed by him into an invulnerable man.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / BOOK THE TENTH.; lines 4040-4101 confidence: low
A year has ended with the Fishes of the ocean; Orpheus avoids intercourse with women because of misfortune or a promise.
After the loss of his wife, Orpheus avoids intercourse with women and rejects many who desire him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 10032-10109 confidence: medium
Glaucus, newly transformed near Anthedon, comes through the sea, desires Scylla, speaks to detain her, and she flees to the top of a mountain near the shore.
The newly transformed Glaucus sees Scylla, lingers from passion, speaks words to detain her, and she flees to a mountain near the shore.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 10032-10109 confidence: medium
Galatea stops speaking; the company departs; the Nereids swim in calm waves; Scylla avoids the open ocean and rests near enclosed waves; Glaucus, newly transformed near Anthedon, approaches through the sea, speaks in passion to detain her, and she flees to a mountain near shore.
Glaucus, recently transformed into a sea god, desires Scylla, speaks to detain her, and she flees.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 10111-10175 confidence: medium
The speaker asks what his form, favor with ocean deities, and godhood avail if Scylla is not moved by them.
The god asks Scylla to be moved by his divine form, she leaves, and he angrily goes to Circe's court.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11118-11219 confidence: medium
Circe appeals to Picus as a beautiful youth, asks him to favor her passion and accept the Sun as father-in-law. Picus rejects her because Canens holds him; Circe threatens that he will not depart unpunished or return to Canens.
Circe, described as a Goddess and daughter of Titan, seeks Picus' love, is rejected because of Canens, threatens him, and then transforms him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11118-11219 confidence: high
Circe asks Picus to favor her passion and accept the Sun as father-in-law; Picus refuses because Canens holds him, and Circe threatens that he will not return to Canens.
Circe, described as a goddess and daughter of Titan, desires Picus; after he refuses her for Canens, she uses magic to change him into a bird.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11563-11661 confidence: medium
Pomona has no desire for love; fearing rustic violence, she encloses her orchard within a wall and forbids and flees male approach.
Pomona rejects love, walls her orchard, forbids male approach, and is desired by gods, demigods, mountain deities, and rustic figures.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11563-11661 confidence: high
Satyrs, Pans, Sylvanus, and another god try to gain Pomona; Vertumnus exceeds them in love but is no more fortunate at first.
Vertumnus loves Pomona and assumes many forms, finally an old woman, to enter her orchard and approach her.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11826-11915 confidence: high
The god urges the nymph to unite with him, returns from old-woman disguise to youthful form, appears like the brilliant sun, and the nymph is captivated by him.
The god is described as fitted for every shape, sheds an old-woman disguise, appears in youthful brilliance, and wins the nymph's reciprocal desire.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 11826-11915 confidence: medium
Juno commands Iris to descend to Hersilia and tell her to cease weeping and go to the grove on the hill of Quirinus if she wishes to see her husband.
Juno sends Iris to the lamenting Hersilia with instructions for reaching the grove where she may see her husband, now Quirinus.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1548-1589 confidence: medium
The speaker points to an island called Perimele, calls Perimele his beloved Nymph, and says he deprived her of the name of a virgin.
Perimele is the beloved Nymph of a sacred river-speaker; after her father casts her into the sea, the speaker appeals to Neptune and her survival takes the form of transformation into a place.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 1548-1589 confidence: medium
The speaker points to an island called Perimele and says, “This beloved Nymph did I deprive of the name of a virgin.”
The speaker calls Perimele his beloved Nymph, supports her in the water, and prays to Neptune for her rescue or transformation.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4485-4585 confidence: high
Apollo loves Hyacinthus; Hyacinthus is described as immortal through springtime blossoming; Apollo frequents Eurotas and Sparta while Delphi lacks its guardian deity.
Apollo is said to love Hyacinthus beyond others and to spend extended companionship with him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4485-4585 confidence: high
Apollo loves Hyacinthus beyond others, leaves Delphi without its guardian deity, and esteems neither lyre nor arrows while frequenting Eurotas and Sparta.
Apollo is said to love Hyacinthus beyond others and to accompany him closely before the fatal accident.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4672-4753 confidence: medium
Hyacinthus is a Laconian youth, regarded as favorite of Apollo and the Muses, who dies after a quoit strikes his head during play.
Hyacinthus is described as favored by Apollo and the Muses, dies by a quoit, and is associated with an alleged change into a flower.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4672-4753 confidence: medium
Hyacinthus is a youth of Laconia, regarded as a favourite of Apollo and the Muses, who dies after being struck on the head by a quoit while playing.
Hyacinthus is described as favored by Apollo and the Muses, dies young, and is later honored with tomb rites, sacrifices, and games.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 4756-4855 confidence: high
Pygmalion is shocked by the Propœtides, lives without a wife, carves a snow-white ivory statue of surpassing beauty, and loves his own workmanship.
Pygmalion creates an ivory statue, loves it, prays to Venus, and the statue becomes a living maiden and bride.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5211-5307 confidence: high
Adonis is described as lately enclosed in a tree and born; Cupid's arrow wounds Venus, who becomes charmed by Adonis and neglects her usual places.
Cupid's arrow wounds Venus, after which she is charmed by Adonis and abandons her usual haunts to attend him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5211-5307 confidence: high
The fable synopsis states that Adonis is educated by Naiads, loved by Venus, warned about dangerous hunting, and that Venus recounts Atalanta and Hippomenes: oracle, fatal races, Venus' golden apples, victory, shrine defilement, and transformation into Cybele's lions.
Venus is wounded by Cupid's arrow, becomes charmed by Adonis, abandons her usual divine locales, follows him, and counsels him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5391-5474 confidence: medium
Venus tells Adonis, her beloved, to avoid these lions and other wild beasts that face the fight, lest his courage be fatal to them both.
Venus addresses Adonis as beloved and warns him to avoid lions and other beasts that face the fight.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5537-5632 confidence: medium
Venus travels through the air in a swan-drawn chariot, hears Adonis dying, descends, tears her garments and hair, strikes her breast, complains to the Fates, and says memorials of her sorrow and a yearly representation of his death will remain.
Venus mourns Adonis, promises memorials of sorrow, sprinkles his blood with nectar, and a flower springs from the blood.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5537-5632 confidence: medium
Venus departs in her swan-drawn vehicle after warning Adonis; his dogs rouse a boar, Adonis wounds it, and the boar pursues and fatally gores him.
Venus warns Adonis, but he continues the hunt and is killed by a boar; Venus mourns him intensely.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5635-5712 confidence: high
Ancient authors are named as sources for the loves of Venus and Adonis; Mars is jealous, Diana sends the boar, and some writers say Apollo took the form of the animal.
Adonis is the beloved of Venus and is destroyed or fatally wounded by a boar, with variant accounts assigning divine agency to Diana or Apollo.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5635-5712 confidence: high
Adonis descends to the Infernal Regions; Proserpine falls in love with him and refuses to allow his return despite Jupiter's orders.
Proserpine detains Adonis in the Infernal Regions; Calliope rules that he spend half his time with Venus on earth and half below; the Hours bring him to the upper world.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 5635-5712 confidence: high
Several authors give additional details: Mars, jealous of Venus's passion for Adonis, asks Diana for aid; Diana sends the boar that destroys Adonis; some say Apollo took the animal's form.
The passage describes Venus's passion for Adonis and variants in which a boar destroys or fatally wounds him.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6256-6345 confidence: high
The fable summary says Proteus foretells Thetis will have a son greater than his father; Jupiter yields Thetis to Peleus; Thetis flees by assuming shapes, Peleus holds her fast, marries her, and she bears Achilles.
Thetis resists Peleus by changing forms into a bird, tree, and tiger; he holds her through some changes and later marries her.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6256-6345 confidence: high
The summary states that Proteus foretells Thetis will have a son stronger than his father; Jupiter, in love with Thetis, yields her to Peleus; Thetis changes shapes until Peleus holds her fast, marries her, and she bears Achilles.
Proteus foretells that Thetis's son will surpass his father; Jupiter therefore avoids union with her and yields her to Peleus.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6256-6345 confidence: high
The summary states that Proteus foretells Thetis will have a son stronger than his father; Jupiter, in love with Thetis, yields her to Peleus; Thetis changes shapes until Peleus holds her fast, marries her, and she bears Achilles.
Peleus seizes Thetis, who resists by changing into bird, tree, and tiger; the summary says he later marries her and she bears Achilles.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6347-6418 confidence: medium
Peleus pours wine on the waters and worships the sea gods; Proteus says Peleus will gain the desired alliance if he binds the sleeper in the cool cave and holds her through imitated forms.
Peleus gains the desired alliance by seizing the Nereid Thetis at her place of repose, is later described as happy in his wife, and fathers Achilles by her.
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The Metamorphoses of Ovid, Books VIII-XV EXPLANATION. / EXPLANATION. / EXPLANATION. / EXPLANATION.; lines 6594-6687 confidence: medium
The explanation says Thetis's beauty led gods to contend for her hand but yield to destiny; Hyginus says Prometheus knew the oracle and exchanged it with Jupiter for deliverance from the eagle, after which Jupiter sent Hercules to Mount Caucasus; Discord's golden apple at the marriage led to the Trojan war.
Thetis's beauty leads gods to contend for her hand, but destiny forces them to yield, and her marriage becomes the setting for the golden apple episode.
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The Metamorphoses of Ovid, Books VIII-XV OF THE / PRINCIPAL TRANSFORMATIONS MENTIONED IN / THE METAMORPHOSES. / BOOK VIII.; lines 234-271 confidence: medium
Minos returns to Crete, has Daedalus help erect the Labyrinth, encloses the Minotaur there, and feeds it Athenian captives; Theseus slays the Minotaur, escapes with Ariadne's aid, deserts Ariadne on Dia, and Bacchus places her crown among the constellations.
Theseus deserts Ariadne on Dia; Bacchus meets her and places her crown among the constellations.
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The Metamorphoses of Ovid, Books VIII-XV THE METAMORPHOSES. / BOOK VIII. / BOOK IX. / BOOK X.; lines 297-312 confidence: medium
Orpheus sings of Ganymede, Hyacinthus loved and slain by Apollo and changed into a flower, the Cerastæ changed into bulls, the Propœtides into stones, and Pygmalion's statue into a living woman and mother of Paphos.
Hyacinthus is described as beloved and slain by Apollo and then changed into a flower.
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The Metamorphoses of Ovid, Books VIII-XV THE METAMORPHOSES. / BOOK VIII. / BOOK IX. / BOOK X.; lines 297-312 confidence: high
Orpheus sings of Ganymede's rape; Hyacinthus, beloved and slain by Apollo, becoming a flower; the Cerastae becoming bulls; and the Propoetides becoming stones.
Hyacinthus is described as beloved and slain by Apollo and then changed into a flower.
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The Metamorphoses of Ovid, Books VIII-XV THE METAMORPHOSES. / BOOK VIII. / BOOK IX. / BOOK X.; lines 297-312 confidence: medium
Orpheus sings of Myrrha changed into the myrrh tree after incest with her father; Venus relates to Adonis the transformation of Hippomenes and Atalanta into lions; Adonis becomes an anemone.
Adonis is associated with Venus's narration and is transformed into an anemone.
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Maha-bharata BOOK I / ASTRA DARSANA / BOOK II / SWAYAMVARA; lines 745-887 confidence: medium
The jeweled young suitors rise with pride and desire, regard each other as rivals, and are compared to bright gods striving when inspired by Uma's love.
The suitors are described as proud, desirous, and mutually hostile while each regards Draupadi as his own prospective wife.
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Maha-bharata BOOK I / ASTRA DARSANA / BOOK II / SWAYAMVARA; lines 745-887 confidence: low
Gods and heavenly beings, including Adityas, Maruts, suparnas, nagas, deva-rishis, gandharvas, and apsaras, come to view the scene.
Gods and heavenly beings arrive to watch the contest centered on Draupadi, while heavenly blossoms descend over the scene.
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Maha-bharata BOOK II / SWAYAMVARA / BOOK III / RAJASUYA; lines 1544-1645 confidence: medium
Krishna asks leave to return to sea-girt Dwarka; Yudhishthir attributes the success of the undertaking to Krishna and laments his absence.
Krishna asks leave to return to Dwarka; Yudhishthir calls him dearest and best beloved friend, cannot bid him go, and follows his chariot in grief.
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Maha-bharata BOOK IV / DYUTA / BOOK V / PATIVRATA-MAHATMYA; lines 2706-2846 confidence: medium
Savitri says she is not faint or weary, that the wife follows the husband in death or life, and that Eternal Law does not divide a loving man and faithful wife.
Savitri explicitly says a faithful wife follows where her husband leads, be it death or life, and continues after Yama tells her a living mortal may not go with him.
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The Hymns of the Rigveda, Complete 2 Volumes AY MN 2.) LHE RIGVEDA, 305 / HYMN 4.) THE RIGVUEDA. B99 / AY MN 5,) THE RIGVEDA, AOL / TLDS TS; lines 28965-29104 confidence: medium
The speaker asks which worship-worthy god will hear the homage, receive the celestial laud, be gracious, come quickly, and bring bliss; the stanza asks what swift car with rapid coursers was elected by the Daughter of the Sun.
The Daughter of the Sun elects the car; the note identifies Surya as bride of the Asvins; the Asvins are called Lords of Surya's Daughter; and their car bears Surya.
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The Hymns of the Rigveda, Complete 2 Volumes AYMN 46.) THE RIQGVEDA. 447 / SERED / HYMN 64.) LHE RIGVEDA., 478 / HHE HYMNS OF; lines 75013-75164 confidence: medium
Indra asks what the tawny beast Vrishakapi has done to injure the addressee and refers to Vrishakapi in relation to anger and the votary's store.
Indrani asserts her beauty and status as Indra's Queen and Hero's wife while angrily opposing Vrishakapi, whom Indra protects and values.
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The Hymns of the Rigveda, Complete 2 Volumes AYMN 92.) THE RIQGVEDA, 119 / HAIYMN 94.) THE RIGVEDA. 121 / RR ROR / AYMN 113.) PHE RIGVEDA, 151; lines 9589-9769 confidence: low
The Sun has risen as the brilliant presence of the Gods, eye of Mitra, Varuna, and Agni, and soul of all that moves or does not move; he fills air, earth, and heaven and follows Dawn like a young man follows a maiden.
The Sun is said to follow Dawn as a young man follows a maiden.
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The Hymns of the Rigveda, Complete 2 Volumes AYMN. 87.) - THE RIGVEDA, 5AS / BOOK THE SIXTH. / HYMN 384 HE RIGVEDA. 597 / HYMN 48.) PHE RIGVEDA, 618; lines 40398-40570 confidence: medium
“Pashan, who driveth goats for steeds… His Sister’s lover… His Mother’s suitor… Brother of Indra, and my Friend.”
Pushan is called a lover or suitor, goes to Surya subdued by love, and is said to be given to Surya by the deities.
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The Hymns of the Rigveda, Complete 2 Volumes BOOK THE FIRST. / VMN VW THE RIGVEDA., 33 / HYMN 19.J THE RIGVEDA, 23 / TS ERO; lines 2457-2619 confidence: low
Dawn is addressed as immortal and radiant; the speaker asks what mortal enjoys or loves her, says she has been in their thoughts near or far, calls her red-hued and like a dappled mare, names her Daughter of the Sky, and asks her to send riches.
Dawn is asked what mortal enjoys her and where she loves, and the note explicitly says this recalls the Greek myth of Eos and Tithonus.
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The Hymns of the Rigveda, Complete 2 Volumes BOOK THE FIRST. / VMN VW THE RIGVEDA., 33 / HYMN 19.J THE RIGVEDA, 23 / TS ERO; lines 2931-3089 confidence: medium
The Asvins are asked three times for wealth, assistance, prosperity, and fame; the Sun’s daughter is said to have mounted their three-wheeled car.
The Sun’s daughter is said to have mounted the Asvins’ three-wheeled car, and a note identifies Surya as the consort of the Asvins.
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The Hymns of the Rigveda, Complete 2 Volumes HAIYMN 94.) THE RIGVEDA. 121 / RR ROR / AYMN 113.) PHE RIGVEDA, 151 / AY UN 120.) THE RIGVEDA. 183; lines 10849-11024 confidence: medium
Dawn is born bright from darkness, keeps the law of Order, goes as a beautiful maiden or bride to the God who longs for her, and the Dawns depart and return with sunbeams and promised fortune.
Dawn is repeatedly figured as a Maiden, bride, or matron and is linked to a God, identified in the passage note as the Sun, who longs to win her.
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The Hymns of the Rigveda, Complete 2 Volumes HYMN 19.J THE RIGVEDA, 23 / TS ERO / HYMN 39.) THE RIGVEDA, BS / HYMN 41) THE RIGVEDA. B7; lines 6720-6899 confidence: low
Indra’s steeds are harnessed right and left; he is invited to draw near to his beloved Spouse; holy prayer yokes his long-maned Bays; outpoured juice gladdens him, and he rejoices with Pishan and his Spouse.
Indra is invited to draw near to his beloved Spouse and is said to rejoice with Pishan and his Spouse after the outpoured juice.
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The Hymns of the Rigveda, Complete 2 Volumes HYMN 384 HE RIGVEDA. 597 / HYMN 48.) PHE RIGVEDA, 618 / HYMN 67. THE RIQVEDA. 680 / HYMN 75.) PHE RIGVEDA. 645; lines 41859-41995 confidence: low
The note says Rati or Love is the deified object; Lopamudra, Agastya, and a disciple are named as Rishis or authors; Lopamudra invites Agastya's caresses and complains of coldness; Agastya responds; the disciple or poet reports the result.
The note explicitly says the deified object of Hymn CLXXIX is Rati or Love, and the associated dialogue centers on marital desire and caresses.
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The Hymns of the Rigveda, Complete 2 Volumes HYMN 97.) PHE RIGVEDA. 533 / HYUN 98.) THE RIGVEDA. 535 / AY MN 114.) THE RIGVEDA, 557 / AYALN 1221 THE RIGVEDA. 567; lines 78994-79191 confidence: low
The Apsaras/Lady supports her Lover in sublimest heaven; Vena wanders as a friend and rests on a golden pinion; he is gazed upon as a golden-winged bird, Varuna’s envoy, hastening to Yama’s home.
The Apsaras/Lady supports her Lover in sublimest heaven, and the surrounding lines identify Vena as resting on a golden pinion.
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The Hymns of the Rigveda, Complete 2 Volumes SERED / HYMN 64.) LHE RIGVEDA., 478 / HHE HYMNS OF / AY MN 95.) THE RIGVEDA, 527; lines 76303-76457 confidence: high
Pururavas asks his consort to stay and reason with him; Urvasi answers that she has gone from him like the first mornings and is difficult to capture like the wind.
Pururavas is a mortal king and consort of Urvasi, a heavenly nymph; their relationship includes cohabitation, embraces, and later separation.
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The Hymns of the Rigveda, Complete 2 Volumes SERED / HYMN 64.) LHE RIGVEDA., 478 / HHE HYMNS OF / AY MN 95.) THE RIGVEDA, 527; lines 76460-76608 confidence: high
The notes say celestial Dames were present, Rivers nursed Pururavas, Gods gave him strength, Urvasi warned him about the conditions of their agreement, and the shining fire refers to the parents who sanctioned the union and maintained household fire.
Urvasi is associated with Apsarases or nymphs and with cosmic air, while Pururavas calls her his love and asks her to return after she says he has not won her.
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The Hymns of the Rigveda, Complete 2 Volumes THE HYMNS OF THE RIGVEDA. / BOOK THE SEVENTH. / HYMN 14.J THE RIGVEDA, 18 / HYMN 41, THE RIQVEDA. 45); lines 46510-46692 confidence: medium
Dawn is called rich in spoil, Spouse of Surya, consumer of youth, and refulgent; varied and red steeds carry her car; she brings treasure, gives cattle, and is asked for wealth in kine, heroes, and horses.
Dawn is called Spouse of Surya and is described in relation to the Sun's uprising and love.
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The Hymns of the Rigveda, Complete 2 Volumes VALAKHILYA. / FIYMN 5.3 THE RIGVEDA. 263 / BOOK THE NINTH. / HYMN 29.) .. DHE RIGVEDA. 289.; lines 61293-61518 confidence: medium
Soma flows to the purifying sieve, slays fiends, sends strengthening streams to Indra’s friendship, is welcomed by Ten Dames like a maiden greeting her love, and is asked to flow sweetly to Indra and Vishnu while guarding the singers.
Ten Dames sing to welcome Soma as a maiden greets her love, and Soma is said to be decked to win.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CCLXIX / SECTION CCLXX / SECTION CCLXXI / SECTION CCLXXII; lines 53486-53528 confidence: medium
Tashtri creates Sita, desiring to make her Rama's beloved wife.
Tashtri creates Sita with the intention that she be Rama's beloved wife.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CCXX / SECTION CCXXI / SECTION CCXXII / SECTION CCXXIII; lines 49640-49655 confidence: medium
Adbhuta fire transforms himself into a household fire; he is gratified by seeing and touching gold-complexioned ladies with his flames and dwells there in intense love.
The fire-god desires the Brahmana ladies but cannot win their hearts, while Swaha loves the fire-god and seeks a way to approach him.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CIX / SECTION CX / SECTION CXI / SECTION CXII; lines 39412-39466 confidence: medium
Rishyasringa reports that a religious student came and describes the visitor's godlike beauty, lotus-like eyes, fragrant blue-black hair tied with gold, shining neck ornament, golden string, jingling foot and wrist ornaments, and wonderful garments.
The visitor is introduced as a religious student, repeatedly described in radiant and godlike terms, and said to seem like a son of the celestials while becoming the focus of Rishyasringa's longing.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXLVI / SECTION CLXLVII / SECTION CLXLVIII / SECTION CLXLIX; lines 18882-18965 confidence: medium
Sakra proposes creating a person from a portion of his energy; five old Indras are named, and Isana grants their desire and appoints celestial Sri as their common wife in the world of men.
Isana appoints celestial Sri to be the common wife of the five Indras in the world of men, and Vyasa identifies her as Draupadi.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXX / SECTION CLXXI / SECTION CLXXII / SECTION CLXXIII; lines 16868-16956 confidence: medium
Samvarana goes hunting in under-woods on the mountain-breast; his horse dies from hunger, thirst, and fatigue, and he continues on foot.
During a solitary mountain wandering, Samvarana sees a radiant maiden already identified in the narrative as Tapati and is overwhelmed by her beauty and desire.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXI / SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV; lines 16958-17022 confidence: high
Tapati says she is not mistress of herself, is under her father's control, tells the king to demand her from her father, and says he too has robbed her of her heart at first sight.
Tapati is identified as daughter of Aditya/Sun and tells Samvarana to seek her father's bestowal before she becomes his wife.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV / SECTION CLXXV; lines 17029-17112 confidence: high
Vasishtha approaches Surya with joined hands; Surya offers to grant his request; Vasishtha asks for Tapati, Surya’s daughter and Savitri’s younger sister, as a wife for Samvarana.
Tapati is Surya’s daughter; Vasishtha asks Surya to give her to Samvarana; Surya grants her, and Samvarana obtains her as wife after worship and vow.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV / SECTION CLXXV; lines 17029-17112 confidence: medium
Samvarana sits day and night; Vasishtha arrives on the twelfth day, knows by ascetic power that Tapati caused the king’s condition, assures him, and ascends to interview Surya.
Vasishtha ascends upward to Surya, requests Tapati, and returns to Samvarana with her as she descends from the firmament.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV / SECTION CLXXV; lines 17029-17112 confidence: medium
The minister sprinkles cold lotus-fragrant water on Samvarana’s head; the king regains consciousness, dismisses attendants, sits on a mountain, purifies himself, and worships Surya with joined palms and upturned face.
Samvarana worships Surya with joined palms and upturned face, remains seated day and night, and after the twelve-night vow obtains Tapati as wife.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV / SECTION CLXXV; lines 17113-17172 confidence: medium
Samvarana, aided by Vasishtha’s ascetic power, takes Tapati’s hand with rites on a mountain resorted to by celestials and Gandharvas, appoints Vasishtha regent, and remains with Tapati there for twelve years.
Samvarana takes Tapati’s hand with due rites on a mountain associated with celestial beings, and Tapati is identified as daughter of Vivaswat.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION CLXXIX / SECTION CLXXX / SECTION CLXXXI / SECTION CLXXXII; lines 45291-45375 confidence: medium
Krishna is seen coming on a car yoked with Saivya and Sugriva, accompanied by Satyabhama, with the simile of Indra accompanied by Sachi.
Satyabhama is called Krishna's beloved consort, accompanies him in the chariot, and is compared through a simile to Sachi with Indra.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION L / SECTION LI / SECTION LII / SECTION LIII; lines 33889-33959 confidence: high
Heralds repeatedly praise Nala before Damayanti and Damayanti before Nala; hearing of each other's virtues, they form an attachment not begotten of sight, and Nala begins spending time in solitude in the gardens by the inner palace.
Heralds repeatedly praise Nala and Damayanti to each other, and the passage states that they develop an attachment not begotten of sight.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION LI / SECTION LII / SECTION LIII / SECTION LIV; lines 33962-34027 confidence: medium
The Lokapalas with Agni hear Narada's report, say they too will go, and set out with attendants and vehicles for Vidarbha.
The Lokapalas hear of Damayanti's Swayamvara and decide that they also will go to Vidarbha.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION LII / SECTION LIII / SECTION LIV / SECTION LV; lines 34030-34083 confidence: medium
Maghavat identifies the immortals as Indra, Agni, the lord of waters, and Yama, and instructs Nala to tell Damayanti that the guardians of the world desire her to choose one of them at the swayamvara.
Indra says the gods have come for Damayanti's swayamvara and desire that she choose one of them for her lord.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION LXIV / SECTION LXV / SECTION LXVI / SECTION LXVII; lines 7182-7264 confidence: medium
Portions of Apsaras become sixteen thousand wives of Vasudeva; Sri becomes Rukmini; Draupadi is born of a portion of Sachi and is described with lotus fragrance, lotus-petal eyes, and auspicious features.
Sri becomes incarnate as Rukmini for the gratification of Narayana, and portions of Apsaras become wives of Vasudeva.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION LXVIII / SECTION LXIX / SECTION LXX / SECTION LXXI; lines 7521-7570 confidence: low
Dushmanta sees that the maiden is exceedingly beautiful, symmetrical, sweet-smiling, adorned by faultless features, ascetic penances, humility, and youth.
After seeing Sakuntala's beauty and youth, Dushmanta says she has stolen his heart at the first glance.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION LXXII / SECTION LXXIII / SECTION LXXIV / SECTION LXXV; lines 8122-8194 confidence: high
Pururavas first brings three kinds of sacrificial fire from the Gandharva region, brings Urvasi, and has six sons with her.
Urvasi, an Apsara from the Gandharvas, is brought by Pururavas and bears him six sons.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XCIV / SECTION XCV / SECTION XCVI / SECTION XCVII; lines 10190-10268 confidence: high
The damsel asks Pratipa to be her husband. Pratipa refuses, citing his vow, and states that the right thigh is for daughters and daughters-in-law while the left lap is for a wife; he accepts her for his son.
A celestial damsel seeks marriage with Pratipa, is redirected to his son as daughter-in-law, and Santanu is later instructed to accept her as wife; Santanu later asks the beautiful maiden by the Ganges to marry him.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XCIV / SECTION XCV / SECTION XCVI / SECTION XCVII; lines 10190-10268 confidence: medium
The damsel agrees to be united with Pratipa's son, praises the Bharata race, says the son should not judge her acts, and foretells happiness, sons, and heaven for him.
The damsel says Santanu should not judge the propriety of her acts, and Pratipa commands Santanu not to ask who she is, whose she is, or whence she comes.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XCV / SECTION XCVI / SECTION XCVII / SECTION XCVIII; lines 10271-10328 confidence: high
The maiden says she will be Santanu's wife, but he must not interfere with anything she does or speak unkindly; she will leave if he does. Santanu answers, "Be it so."
Ganga, a goddess in human form, becomes Santanu's wife under a stated condition that he must not interfere or speak unkindly.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XCV / SECTION XCVI / SECTION XCVII / SECTION XCVIII; lines 10271-10328 confidence: high
The maiden says she will be Santanu's wife, but he must not interfere with anything she does or speak unkindly; she will leave if he does. Santanu answers, "Be it so."
Ganga says she will leave if Santanu interferes; after he speaks to stop the eighth child's destruction, she says the period of her stay is ended and leaves him.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XLI / SECTION XLII / SECTION XLIII / SECTION XLIV; lines 4823-4860 confidence: medium
Ministers request Vapushtama, daughter of Suvarnavarman king of Kasi, as Janamejaya's bride; she is bestowed with rites. Janamejaya receives her gladly, loves no other woman, wanders with her on water and in pleasant landscapes, and is compared to Pururavas with Urvasi.
Janamejaya's pleasure with Vapushtama is explicitly compared to Pururavas of old after receiving the celestial damsel Urvasi.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XLII / SECTION XLIII / SECTION XLIV / SECTION XLV; lines 33221-33266 confidence: high
Indra/Vasava sees Arjuna's glances toward Urvasi, privately calls Chitrasena, and sends him to tell Urvasi to wait upon Arjuna and teach him the arts of female company, after Arjuna has learned weapons and other arts through Indra.
A heavenly Apsaras is asked by Indra through a celestial messenger to go to Arjuna, and she agrees to choose him as a lover.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XLIII / SECTION XLIV / SECTION XLV / SECTION XLVI; lines 33269-33356 confidence: high
Urvasi sends away the successful Gandharva, bathes, performs ablutions, adorns herself with celestial ornaments and garlands, and is described as inflamed by Manmatha and focused on Arjuna.
Urvasi, a celestial Apsara, desires Arjuna, prepares herself, goes to his mansion at night, and states that she has come out of desire and under divine command.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 1 SECTION XXVII / SECTION XXVIII / SECTION XXIX / SECTION XXX; lines 24730-24790 confidence: high
Agni resides in Mahishmati; King Nila's beautiful daughter stays near her father's sacred fire, whose blazing is linked to her breath; Agni desires her as bride and she accepts him.
Agni desires King Nila's daughter as bride, she accepts him, and the king bestows her upon Agni.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION CLXXIX / SECTION CLXXX / SECTION CLXXXI / SECTION CLXXXII; lines 56871-56899 confidence: medium
Vasudeva says he values Vibhatsu's protection above his own family, life, and the sovereignty of the three worlds, and that seeing Dhananjaya was like seeing one returned from the dead.
Vasudeva says Dhananjaya is more worthy of protection than his own family, life, or the sovereignty of the three worlds, and Sanjaya says Devaki's son is devoted to Dhananjaya's good.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION CVIII / SECTION CIX / SECTION CX / SECTION CXI; lines 15741-15817 confidence: medium
The moon is installed into sovereignty; Mahadeva receives Ganga on his head and releases it to the world of men; Uma performs austerities for Maheswara; Kuvera is installed on Kailasa.
Uma performs austerities from desire to obtain Maheswara as her lord.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION LXX / SECTION LXXI / SECTION LXXII / FOOTNOTES; lines 5778-5895 confidence: low
"The princess being of the complexion of burnished gold and Arjuna dark as a mass of clouds"; the note adds that Vaishnava poets use this simile for Radha and Krishna in Vrindavana.
The footnote compares the gold-complexioned princess and cloud-dark Arjuna with a simile used by Vaishnava poets for Radha and Krishna in Vrindavana.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION LXXVI / SECTION LXXVII / SECTION LXXVIII / SECTION LXXIX; lines 44687-44770 confidence: medium
At midnight Janardana tells Daruka that Arjuna vowed to slay Jayadratha before sunset; Duryodhana will plan to prevent it, armies will protect Jayadratha, and Drona with his son will protect him.
Krishna says Drona-protected Jayadratha is exceedingly difficult to slay, yet declares he will do what is needed so Arjuna can kill Jayadratha before sunset.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION LXXXIV / SECTION LXXXV / SECTION LXXXVI / SECTION LXXXVII; lines 13883-13923 confidence: medium
Vidura says wealth, attention, or worship cannot separate Krishna from Dhananjaya; he cites Krishna’s magnanimity, Arjuna’s devotion, and says Dhananjaya is Kesava’s life.
Vidura says Krishna cannot be separated from Dhananjaya and describes Arjuna’s devotion and Dhananjaya as Kesava’s life.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION VIII / SECTION IX / SECTION X / SECTION XI; lines 6731-6781 confidence: medium
Nahusha asks why Indra's queen does not attend him and says: "Let Sachi make haste and visit me at my house."
Nahusha, occupying Indra's kingship, demands that Sachi, Indra's favorite queen, attend him and visit his house; Sachi seeks protection.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION X / SECTION XI / SECTION XII / SECTION XIII; lines 6864-6920 confidence: medium
Nahusha calls himself the Indra of the three worlds and asks Sachi to accept him; Sachi is terrified, bows to Brahma, joins her hands, and asks time to learn what has become of Indra.
Nahusha seeks Sachi as his own; Sachi delays him by seeking news of Indra and later prays that her chastity remain inviolate.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION XI / SECTION XII / SECTION XIII / SECTION XIV; lines 6923-6960 confidence: high
Divination appears to Sachi, identifies herself, says Sachi can see her because of truthfulness, devotion, self-control, and rites, and promises to show her Indra.
Sachi, Indra's devoted queen, is guided by the goddess Divination through remote celestial places until Indra is found hidden in a lotus-stalk.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION XXI / SECTION XXII / SECTION XXIII / SECTION XXIV; lines 25549-25587 confidence: medium
Krishna says the devotee is superior to ascetics, people of knowledge, and people of action; among devotees, the faithful worshiper whose inner self rests on him is most devout.
Krishna identifies as most devout the worshiper who is full of faith and whose inner self rests on him.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION XXI / SECTION XXII / SECTION XXIII / SECTION XXIV; lines 26082-26129 confidence: medium
The speaker describes a person dear to him as without hatred, friendly, compassionate, free from egoism, vanity, and attachment, equal in pleasure and pain, forgiving, contented, devoted, self-subdued, firm in purpose, and fixed on him.
The speaker repeatedly identifies certain faithful, equanimous, renouncing devotees as dear to him, and finally as dearest to him.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 2: Books 4, 5, 6 and 7 SECTION XXI / SECTION XXII / SECTION XXIII / SECTION XXIV; lines 26550-26632 confidence: medium
The speaker calls the words the most mysterious, tells Arjuna to set his heart on the speaker, become a devotee, sacrifice, bow, and take sole refuge, promises deliverance from sins, restricts teaching to fitting recipients, and says teaching, studying, or hearing the holy converse brings spiritual benefit.
The speaker says Arjuna is exceedingly dear and that those who teach the mystery to devotees will be dear to the speaker.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 SECTION CCCLXII / SECTION CCCLXIII / SECTION CCCLXV / FOOTNOTES; lines 73776-73877 confidence: medium
The note reports views that Narayana manifests for the work of deities, to rescue the good and destroy the wicked, and to gladden and serve devotees.
One view in the note says Narayana manifests to gladden the hearts of devotees, allow worship, and serve his worshippers.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 SECTION CCCXL / SECTION CCCXLI / SECTION CCCXLII / SECTION CCCXLIII; lines 62308-62391 confidence: high
Nahusha claims Sachi as part of Indra’s former possessions; Sachi objects that she is another person’s wife and delays him by citing an unfinished vow and future ablutions.
Sachi, in fear and grief, observes a vow, receives ritual instruction, invokes Upasruti, and is shown where Indra is hidden.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 SECTION CCCXXXIII / SECTION CCCXXXIV / SECTION CCCXXXV / SECTION CCCXXXVI; lines 60705-60788 confidence: medium
Indra shares his own seat and bed with Uparichara upon seeing his devotion; Uparichara regards all possessions as obtained from Narayana and offers them to that deity.
Indra shares his own seat and bed with Uparichara after beholding the king's devotion to Narayana.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 SECTION CCLXXX / SECTION CCLXXXI / SECTION CCLXXXII / SECTION CCLXXXIII; lines 53352-53428 confidence: medium
Mahadeva sits on the summit in splendor, and the daughter of the king of mountains sits by his side and shines brilliantly.
Uma, described as Mahadeva's spouse and seated beside him, questions him about the gods' departure and grieves over his lack of a sacrificial share.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 SECTION CLXXI / SECTION CLXXII / SECTION CLXXIII / SECTION CLXXIV; lines 41620-41673 confidence: medium
Pingala speaks of the Dear Self, the Essence of Purity, the house of one column and nine doors covered by true Knowledge, and the Supreme Soul as dear lord.
Pingala names the Dear Self or Supreme Soul as the true lord and rejects human lovers as deceivers.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 / BOOK 8 / BOOK 9; lines 16704-16786 confidence: medium
Daksha has twenty-seven daughters, gives them in marriage to Soma, and they are connected with constellations and time calculation; Rohini is foremost in beauty and favored by Soma.
The passage centers on Soma's marriage to Daksha's twenty-seven daughters and his exclusive affection for Rohini, causing grievance among the other wives.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 / BOOK 8 / BOOK 9; lines 18326-18409 confidence: medium
Sruvavati, daughter of Bharadwaja, is a beautiful Brahmacharini who practices severe austerities for many years to obtain the Lord of the celestials as husband.
Sruvavati performs long and severe vows to obtain Indra as husband, and Indra later grants that she will live with him in heaven.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 3: Books 8, 9, 10, 11 and 12 / BOOK 8 / BOOK 9; lines 18410-18478 confidence: medium
After Indra departs, celestial flowers fall, celestial drums sound, perfumed breezes blow, and Sruvavati casts off her body and becomes the spouse of Indra forever.
Sruvavati casts off her body and becomes the spouse of Indra, gaining an enduring heavenly status through penance.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 ANUSASANA PARVA / PART I / SECTION I / SECTION II; lines 365-448 confidence: high
Agni courts Sudarsana, takes the shape of a Brahmana, and seeks her hand from the king.
Agni, a deity, seeks and marries Duryodhana's daughter Sudarsana according to Vedic rites.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CIV / SECTION CV / SECTION CVI / SECTION CVII; lines 16218-16301 confidence: medium
A man fasting nine days, eating one meal every tenth day for a year, and pouring daily libations on sacred fire gains the merit of a thousand Horse-sacrifices and companionship of beautiful Brahmanas' daughters.
The practitioner is accompanied, served, gladdened, or kept in joy by Rudra's daughters, Brahmanas' daughters, celestial damsels, and Soma's daughters.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CLVI / SECTION CLVII / SECTION CLVIII / SECTION CLIX; lines 23083-23137 confidence: medium
The Rishi grants Rukmini fame, glory, freedom from decrepitude, disease, and complexion loss, constant fragrance, foremost status among sixteen thousand spouses, and future inseparable companionship with Krishna.
Rukmini is made foremost among spouses, freed from decrepitude and disease, and promised inseparable companionship with Krishna after departure from the world.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CXLIII / SECTION CXLIV / SECTION CXLV / SECTION CXLVI; lines 20557-20618 confidence: medium
Mahadeva asks Uma to discourse on the duties of women from the beginning and says that her discourse will have great merit, become authoritative, and be followed through generations.
Mahadeva describes Uma as his spouse, equal in conduct and vows, and states that half of his body is made up of half of her body.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CXLIV / SECTION CXLV / SECTION CXLVI / SECTION CXLVII; lines 20745-20828 confidence: medium
Hari is lotus-eyed; Sri dwells within him and he remains associated with her.
Sri is said to dwell within Hari and Hari is said to remain always associated with her.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CXLVI / SECTION CXLVII / SECTION CXLVIII / SECTION CXLIX; lines 21599-21682 confidence: medium
The figure is the unreturning hero, withdrawn from attachments, reduces the universe to a subtle form at universal dissolution, aids afflicted worshippers, cleanses sins when his name is heard, bears an auspicious whorl on his breast, and has Lakshmi dwelling in him and choosing him as Lord.
Lakshmi, the goddess of Prosperity, dwells in the central figure, chooses him as Lord, and is held on his bosom.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION CXXXVII / SECTION CXXXVIII / SECTION CXXXIX / SECTION CXL; lines 19293-19376 confidence: medium
Uma, Mahadeva's spouse and daughter of Himavat, arrives with wives of ghostly beings, attire and vows like his, a jar of waters of every Tirtha, mountain-stream deities, flowers, and perfumes.
Uma, identified as Mahadeva's spouse, playfully covers his eyes, and the universe becomes dark and fearful.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION VIII / SECTION IX / SECTION X / SECTION XI; lines 1421-1499 confidence: medium
Yudhishthira asks Bhishma where the goddess of prosperity resides; Bhishma recounts Rukmini asking Sree whom she favors and avoids, in the presence of Devaki's son.
Sree is described as dear to the lord of all creatures and later says she resides firmly in Narayana, identified with her embodied self.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION XI / SECTION XII / SECTION XIII / SECTION XIV; lines 2225-2308 confidence: medium
Siva is described as having the horizon for garments, as a Brahmacharin with seed drawn up, as having half his body occupied by his dear spouse, as subjugating Kama, as having the crematorium for a sporting ground, as praised for dancing, and as sporting with spirits and ghosts.
Siva is described as having half of his body occupied by his dear spouse.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION XI / SECTION XII / SECTION XIII / SECTION XIV; lines 2759-2834 confidence: medium
Sarva appears before Krishna; the universe looks at Krishna; Krishna cannot look at Mahadeva; Mahadeva tells Krishna to behold and speak and says Krishna is dearest to him; Krishna bows and Uma is gratified.
Mahadeva tells Krishna that no one in the three worlds is dearer to him, and Uma becomes gratified after Krishna bows.
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The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4: Books 13, 14, 15, 16, 17 and 18 SECTION XVI / SECTION XVII / SECTION XVIII / SECTION XIX; lines 4468-4550 confidence: medium
The plateau is described as inhabited by Siddhas, Charanas, Mahadeva’s diverse dancing associates, and Pisachas; Mahadeva dwells there, and Uma practiced severe austerities there to obtain the three-eyed Deity.
Uma is said to have performed severe austerities at the sacred site to obtain the three-eyed Deity as her lord.
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The Markandeya Purana CANTO CXXIY. / CAKTO CXXV. / CANTO CXXTI- / CANTO CXXTI.; lines 35370-35481 confidence: medium
The gods identify the maiden as the prince’s wife, Visala’s daughter, devoted to austerities for him, and prophesy a heroic universal-monarch son who will embellish the seven continents and perform a thousand sacrifices.
The maiden practices austerities for the prince, refuses to abandon hope of union, is rescued, and the synopsis says Avikshit agrees to marry her.
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The Markandeya Purana CANTO LIX. / Canto LX. / CANTO Ml. / GAHTO MI.; lines 21339-21503 confidence: medium
Varuthini, a choice Apsaras of high station and daughter of Miili, sees the brahman, is drawn by love, admires his appearance, and thinks his love may make his merit attainable to her.
Varuthini is identified as an Apsaras and heavenly maiden who sees the brahman, is filled with affection, declares love, and seeks his favor.
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The Markandeya Purana CANTO LVni. / Canto LIX. / CANTO LIX. / Canto LX.; lines 21132-21224 confidence: medium
The Apsaras Varuthim meets the brahman, falls in love, asks for his love, is refused, and the brahman appeals to the gdrhapatya fire to help him homeward.
The Apsaras Varuthim falls in love with the young brahman, asks for his love, and is refused.
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The Markandeya Purana Canto LX. / CANTO Ml. / GAHTO MI. / A BRAHMAN AND AN APSARAS.; lines 21506-21683 confidence: medium
The Garhapatya Fire appears upon the brahman's body; he stands in a circle of light, departs while Varuthini watches, reaches home in a moment, and performs the rites.
Varuthini, a heavenly maiden, becomes absorbed in love for the departing brahman, sighs, weeps, and describes separation as burning.
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The Markandeya Purana CANTO LXXV. / Canto LXXYI. / CANTO T,XXV7. / Canto LXXYII.; lines 24940-25101 confidence: medium
The Sun assumes horse form, meets Sanjna in mare shape, fathers Nasatya and Dasra from the mare's mouth and then Revanta, reveals his true form, and brings Sanjna home restored to her own shape.
After the Sun displays his true form, Sanjna rejoices, is restored to her own shape, and is brought home as his loving wife.
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The Markandeya Purana CANTO LXXXIV, / Canto LXXXY. / CAXITO LX3CXY. / CANTO LXXXV.; lines 26985-27096 confidence: medium
Chanda and Munda describe a surpassingly beautiful woman illuminating Mount Himavat and the sky, urge inquiry whether she is a goddess, and say she should be taken possession of as a gem among women.
Chanda and Munda compare Ambika to the other gems in Shumbha's possession and urge that she be seized; Shumbha sends a messenger to bring her to him.
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The Markandeya Purana Canto LXXXY. / CAXITO LX3CXY. / CANTO LXXXV. / CANTO LXXXT.; lines 27099-27165 confidence: medium
The messenger urges the goddess to approach S'umbha or his younger brother Nisumbha, calls her a gem, and says she will gain supreme dominion by wedding.
The goddess is called a gem and invited to wed S'umbha or Nisumbha, with dominion attached to the marriage offer.
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The Markandeya Purana CANTO TV. / CAHTO IV. / Canto V. / CANTO V.; lines 1160-1261 confidence: high
Dharma relinquishes Indra’s innate glory and Yudhishthira is born; Vayu relinquishes might and Bhima is born; Dhananjaya is born from half of Indra’s power; Yama’s two sons are born of Madri; Indra is thus incarnate in five forms.
Krishna/Draupadi is identified as Indra’s wife and wife to five men because Indra became incarnate in five forms.
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The Markandeya Purana CANTO X?I. / CANTO xvr. / CANTO XVT, / THE BIRTH OF BATTATRITA.; lines 5599-5758 confidence: high
The Daityas advance; the frightened gods flee to Dattatreya’s hermitage. The Daityas enter and see Dattatreya and Lakshmi seated at his left side.
Lakshmi is seated at Dattatreya’s left side and described as his wife; the Daityas become overcome by desire and plan to place her in a palki and carry her away.
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The Markandeya Purana Canto XX. / THE STORY OF KUVALAYASVA, / CANTO IX. / Canto XXI.; lines 6236-6364 confidence: medium
The prince sees a solitary maiden on a spacious golden couch, described with ideal beauty; he thinks her a deity of Rasatala, and she regards him as the god of Love.
The prince sees Madalasa as a deity of Rasatala, while Madalasa sees him as the god of Love, and both are affected by love imagery.
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The Markandeya Purana HAPPINESS IN WEDDED LIFE. / CANTO LXV. / Canto LXVI. / CANTO LXVr.; lines 22317-22429 confidence: medium
Sva-rocis goes to the forest with bow in hand, draws his bow at a distant boar, and a doe approaches asking that the arrow be shot at her instead.
The doe asks to be killed by Sva-rocis's arrow because she desires him and says she cannot live without him.
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The Ramayan of Valmiki Canto CIX. The Battle. / Canto CXIV. Vibhishan Consecrated. / Canto CXVI. The Meeting. / Canto CXIX. Glory To Vishnu.; lines 56095-56231 confidence: medium
Brahma tells Rama to put aside the mortal thought and identifies him as Narayana, the lord to whom all creatures bow, Vishnu, guide, Krishna, and bearer of divine weapons and attributes.
Brahma identifies Sita as Lakshmi, the celestial spouse of Rama, while identifying Rama as Narayana/Vishnu.
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The Ramayan of Valmiki Canto CIX. The Battle. / Canto CXIV. Vibhishan Consecrated. / Canto CXVI. The Meeting. / Canto CXIX. Glory To Vishnu.; lines 56095-56231 confidence: medium
Brahma says Sita is Lakshmi, Rama’s celestial spouse, and that Rama took his current form to free the worlds from Ravana; the tyrant has been slain and the task completed.
Brahma identifies Sita as Lakshmi, Rama’s celestial spouse, and the passage ends with the restored embrace of Rama and Sita.
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The Ramayan of Valmiki Canto LXXII. The Gift Of Kine. / Canto LXXIII. The Nuptials. / Canto LXXV. The Parle. / Canto LXXVI. Debarred From Heaven.; lines 9607-9641 confidence: medium
Rama spends blissful seasons beside his darling, with each thought on her, as lover, friend, and worshipper.
Rama’s wife is presented as his beloved, his second life, and an inward counterpart with whom his heart communes.
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The Ramayan of Valmiki Canto LXXII. The Gift Of Kine. / Canto LXXIII. The Nuptials. / Canto LXXV. The Parle. / Canto LXXVI. Debarred From Heaven.; lines 9607-9641 confidence: medium
Ráma passes blissful seasons by his wife's side; he loves her because his father's voice gave and approved her and for her charms and virtues; the pair is described as lord and second life in a double form with communing hearts.
Ráma is described as lover, friend, and worshipper of his wife, who is called goddess-fair and Beauty's Queen in mortal form.
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The Ramayan of Valmiki Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23088-23203 confidence: low
The son of Raghu dwells there, loves hill and wood, pleases his Videhan spouse by showing Chitrakuta, and is likened to Indra showing Swarga to Śachí.
The speaker lovingly guides his spouse through Chitrakuta’s beauties, and the action is explicitly likened to Indra showing Swarga to Śachí; other lover pairs are also present in the landscape.
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The Ramayan of Valmiki Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23206-23349 confidence: medium
“To gaze on Chitrakúṭa’s hill, / To look upon this lovely rill, / To bend mine eyes on thee, dear wife, / Is sweeter than my city life.”
Rama repeatedly addresses Sita as beloved spouse, says her presence makes the forest sweeter than city life, and compares the creeper’s embrace to her arms around him.
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The Ramayan of Valmiki Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23351-23518 confidence: medium
Rama lays his finger on a rock with sanguine ore and paints the holy sign over Sita's eyes; the metal shines on her brow.
Rama and Sita are depicted as affectionate lovers; he marks and garlands her, and they exchange flower coronets in the Asoka grove.
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The Ramayan of Valmiki Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23351-23518 confidence: medium
Ráma and Sítá embrace; Ráma uses sanguine ore from a rock to paint a holy sign in mineral dyes on Sítá and picks Keśar blossoms to adorn her hair.
Ráma lovingly adorns Sítá with a holy mark and blossoms, and the pair roam and play among forest flowers.
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The Ramayan of Valmiki Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23351-23518 confidence: medium
Aśoka blossoms appear like threatening monkeys; Sítá asks to visit them, Ráma accompanies her, and the lovers weave flower crowns and chains; they are compared to Śiva and Umá in Himaván’s groves.
Ráma and Sítá’s play among the Aśokas is explicitly compared to Śiva and Queen Umá in Himaván’s groves.
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The Ramayan of Valmiki Canto V. Sarabhanga. / Canto VIII. The Hermitage. / Canto XI. Agastya. / Canto XII. The Heavenly Bow.; lines 27980-28109 confidence: low
Agastya welcomes Rama, Lakshman, and Sita; says Sita is weary from forest travel; and praises her faithful love, comparing her to Arundhati.
Agastya says Sita's wifely love led her to follow Rama through difficult forest paths and praises her as a paragon of faithful love.
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The Ramayan of Valmiki Canto XIV. The Challenge. / Canto XXVI. The Coronation. / Canto XXVIII. The Rains. / Canto XXXI. The Envoy.; lines 42087-42234 confidence: medium
Tara says Rama restored Sugriva to fame, Vanara empire, Ruma, and Tara; she explains that, like Visvamitra with Ghritachi, he failed to notice the passing seasons.
Tara explains Sugriva’s delay by his newly restored pleasures and by the exemplum of Visvamitra under Ghritachi’s love, in which long years seemed like a single day.
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The Ramayan of Valmiki Canto XIV. The Challenge. / Canto XXVI. The Coronation. / Canto XXVIII. The Rains. / Canto XXXI. The Envoy.; lines 42087-42234 confidence: medium
Tara asks Lakshman to slake his fury, says Sugriva would give up family and wealth for Rama, and says Rama will be reunited with Sita like the Moon with Rohini.
Rama’s anticipated reunion with Sita is compared to the triumphant Moon rejoining Rohini.
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The Ramayan of Valmiki Canto XV. The Preparations. / Canto XVIII. The Sentence. / Canto XXII. Lakshman Calmed. / Canto XXVIII. The Dangers Of The Wood.; lines 14329-14415 confidence: medium
She says she must go with Rama because her sire's command ordains it; bereft of him she will die; while he is near, even the ruler of the sky cannot wrong her.
She says she cannot live bereft of Rama and threatens fire, water, or poison if he refuses to take her.
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The Ramayan of Valmiki Canto XVIII. The Sentence. / Canto XXII. Lakshman Calmed. / Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love.; lines 14506-14679 confidence: medium
Sita cries out, clings to Rama's neck, is wounded by his words, sheds long-restrained tears, and fades with weeping.
Sita's anguish leads Rama to accept her wish to dwell with him in the forest, and he says heaven has no charms without her.
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The Ramayan of Valmiki Canto XXIX. The Celestial Arms. / Canto XXXI. The Perfect Hermitage. / Canto XXXIII. The Sone. / Canto XXXIV. Brahmadatta.; lines 5006-5160 confidence: medium
The Wind-God says, “I love you all, sweet girls,” asks each to be his bride, and offers them “unending youth” and immortality.
The Wind-God asks the hundred maidens to be his brides and offers immortal life and unending youth.
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The Ramayan of Valmiki Canto XXIX. The Celestial Arms. / Canto XXXI. The Perfect Hermitage. / Canto XXXIII. The Sone. / Canto XXXIV. Brahmadatta.; lines 5006-5160 confidence: medium
Ghritáchí bears Kuśanábha a hundred daughters; they play in a garden, and the Wind-God asks them all to be his brides, offering unending youth and immortality.
The Wind-God asks all the maidens to be his brides and offers them unending youth and immortality.
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The Ramayan of Valmiki Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark.; lines 15523-15656 confidence: medium
Vashishtha rebukes Kaikeyi, says “Sítá to exile shall not go,” and declares, “Those joined by wedlock’s sweet control / Have but one self and common soul.”
Vashishtha states that those joined by wedlock have one self and common soul, and that Sita is Rama’s self and soul.
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The Ramayan of Valmiki Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark.; lines 15959-16110 confidence: medium
Sita boards the sun-bright chariot; Rama and Lakshmana join her; the king has given Sita robes and ornaments, and the brothers place hunting gear, arms, mail, a leathern basket, and a spade in the car.
Sita accompanies Rama as his wife and is praised for remaining beside him; Lakshmana accompanies and serves him as an unswerving brother.
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The Ramayan of Valmiki Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark.; lines 16417-16587 confidence: medium
Sítá knows the forest hardships awaiting her but will not part from Ráma because of love.
Sítá knows the hardships of the forest but refuses to part from Ráma because of love.
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The Ramayan of Valmiki Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark.; lines 16417-16587 confidence: medium
Lakshmaṇ will hold the same high course as Ráma; Sítá knows the forest toils but will not part from Ráma because of love.
Sítá knows the toils awaiting her but will not part from Ráma; the passage also identifies Lakshmí as going in Sítá’s guise.
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The Ramayan of Valmiki Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark. / Canto XLVI. The Halt.; lines 16817-16964 confidence: medium
The women declare that where Rāma stands there is nothing to fear, call him the world’s support, lord, and friend, and urge going to serve Sītā while their husbands care for Rāma.
The women say that no danger comes where Rāma stands and call him the support, lord, and friend of all who live.
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The Ramayan of Valmiki Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark. / Canto XLVI. The Halt.; lines 16817-16964 confidence: medium
The women praise Lakshmaṇ as true and good because he follows Ráma and Sítá through the wood, and say waters used by Ráma for bathing will be holy.
The women say that waters used by Ráma will become holy and imagine forests, mountains, rivers, trees, roots, fruits, and cascades as welcoming or serving him.
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The Ramayan of Valmiki Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark. / Canto XLVI. The Halt. / Canto XLIX. The Crossing Of The Rivers.; lines 17611-17766 confidence: medium
The boat reaches the right bank; Rama, Sita, and Lakshmana land. Rama tells Lakshmana to go first, Sita to walk after him, and Rama to follow behind to guard them in forest hardships.
Rama positions Lakshmana ahead and himself behind to protect Sita, and later says they must keep vigil because her life depends on them.
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The Ramayan of Valmiki Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark. / Canto XLVI. The Halt. / Canto XLIX. The Crossing Of The Rivers.; lines 18075-18216 confidence: medium
Rāma tells Lakṣmaṇ to lead, Sītā to follow him, and Rāma to go last with his bow; he asks Lakṣmaṇ to gather any fruits or flowers Sītā wants.
Rāma arranges the party so Lakṣmaṇ leads, Sītā walks behind him, and Rāma follows last holding his bow; he also instructs Lakṣmaṇ to gather what Sītā desires.
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The Ramayan of Valmiki Canto XXXIX. The Sons Of Sagar. / Canto XL. The Cleaving Of The Earth. / Canto XLI. Kapil. / Canto XLV. The Quest Of The Amrit.; lines 6291-6393 confidence: medium
A lotus-bed maiden with gems, diadem, and lotus in hand emerges, is called Queen of the Gods, Beauty, and Fortune, and clings to lotus-bearing Vishṇu.
A lotus-borne maiden identified as Beauty and Fortune emerges amid the churning and clings to Vishṇu.
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The Ramayan of Valmiki CAREY AND MARSHMAN. / SCHLEGEL. / GORRESIO. / HIPPOLYTE FAUCHE.; lines 57691-57754 confidence: high
Vedavatī says she has wed Nārāyaṇa with her heart and that Nārāyaṇa alone is her husband.
Vedavatī declares Nārāyaṇa/Vishnu to be her husband and practices austerity to obtain him.
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The Ramayan of Valmiki CAREY AND MARSHMAN. / SCHLEGEL. / GORRESIO. / HIPPOLYTE FAUCHE.; lines 57691-57754 confidence: medium
Rāvaṇa encounters Vedavatí in ascetic garb in a Himālaya forest; she identifies herself as the daughter of Kuśadhwaja and says she is vowed to Vishṇu/Nārāyaṇa as husband through austerity.
Vedavatí says she has wedded Nārāyaṇa in her heart and practices austerity to obtain him as husband.
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The Ramayan of Valmiki CAREY AND MARSHMAN. / SCHLEGEL. / GORRESIO. / HIPPOLYTE FAUCHE.; lines 57691-57754 confidence: medium
The passage identifies Vedavatí as born in the Treta age as Sītā, daughter of the king of the Janakas and bride of Rāma; Rāma is called eternal Vishṇu; commentary says Sītā was the principal cause of Rāvaṇa’s death and identifies Sītā with Lakshmí.
The passage identifies Sītā with Lakshmí and cites Parāśara that she appears as Sītā in Rāma’s life and Rukminí in Krishṇa’s birth.
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The Ramayan of Valmiki HIPPOLYTE FAUCHE. / ADDITIONAL NOTES. / H. H. WILSON. / THE SUPPLIANT DOVE.; lines 59299-59388 confidence: high
Urvasî’s union with Purûravas depends on her never seeing him unclothed; Gandharvas steal lambs by her couch, Purûravas rises naked, lightning reveals him, and Urvasî vanishes.
Urvasî’s union with Purûravas depends on a condition; when the condition is broken through the Gandharvas’ stratagem, she vanishes.
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The Ramayan of Valmiki HIPPOLYTE FAUCHE. / ADDITIONAL NOTES. / H. H. WILSON. / THE SUPPLIANT DOVE.; lines 59299-59388 confidence: high
The note identifies Urvasi with morning, dawns, and light before sunrise; compares her with Greek figures; and mentions Vasishtha, Mitra, and Varuna.
Urvasi is described as dawn-like and as the beloved of Pururavas whose union with him is central to the episode.
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The Rámáyan of Válmíki, translated into English verse Canto CIX. The Battle. / Canto CXIV. Vibhishan Consecrated. / Canto CXVI. The Meeting. / Canto CXIX. Glory To Vishnu.; lines 56093-56229 confidence: medium
Brahmá tells Ráma to set aside the mortal thought and identifies him as Lord Náráyaṇ, the God to whom creatures bow, Vishṇu, Krishṇa, world-sustainer, and bearer of divine weapons and forms.
Brahmá identifies Ráma as Náráyaṇ/Vishṇu and Sítá as Lakshmí, his celestial spouse, and the episode ends with their reunion.
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The Rámáyan of Válmíki, translated into English verse Canto CVIII. The Battle. / Canto CIX. The Battle. / Canto CXIV. Vibhishan Consecrated. / Canto CXVI. The Meeting.; lines 56065-56090 confidence: medium
She prays to the “Lord of Flame,” calls Fire a “universal witness,” and asks protection on the pyre if her heart has never strayed from Raghu’s son.
The woman states that Raghu’s son has laid a charge on her and seeks vindication through Fire in relation to her fidelity to him.
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The Rámáyan of Válmíki, translated into English verse Canto I. The Heir Apparent. / Canto VI. The City Decorated. / Canto IX. The Plot. / Canto XV. The Preparations.; lines 12347-12519 confidence: medium
Sítá attends Ráma to the door, blesses him for royal consecration and imperial power by his father’s decree, and invokes Indra, Yáma, Varuṇ, and Kuvera as directional guardians.
Sítá blesses Ráma, is described as possessing his heart, and is compared by the women to Rohiní beloved of the Moon.
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The Rámáyan of Válmíki, translated into English verse Canto I. The Hermitage. / Canto V. Sarabhanga. / Canto VIII. The Hermitage. / Canto XI. Agastya.; lines 27418-27559 confidence: high
The gods in heaven, led by Agni, fear the ascetic may gain one of their seats and send five beautiful nymphs to seduce him from his vows.
The gods send five heavenly nymphs to seduce the ascetic from his stern vows; they succeed, become his wives, and live with him beneath the lake.
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The Rámáyan of Válmíki, translated into English verse Canto LXXII. The Gift Of Kine. / Canto LXXIII. The Nuptials. / Canto LXXV. The Parle. / Canto LXXVI. Debarred From Heaven.; lines 9605-9639 confidence: medium
Ráma spends blissful seasons beside his wife, loves her for paternal approval and for her charms and virtues, and is described as her lord and second life, with heart-to-heart communion even apart.
Ráma’s marriage is father-approved; he loves his wife for her virtues and charms; their hearts commune even apart; and the pair are likened to Vishṇu with Lakshmi.
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The Rámáyan of Válmíki, translated into English verse Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23204-23347 confidence: medium
Ráma descends from the mountain side and shows the Maithil lady the lovely stream; he addresses her as his bride.
Ráma repeatedly addresses Sítá affectionately while showing her the beautiful stream, hill, cave, and forest, and compares the creeper around the mango to her embrace.
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The Rámáyan of Válmíki, translated into English verse Canto LXXXII. The Departure. / Canto LXXXIII. The Journey Begun. / Canto LXXXV. Guha And Bharat. / Canto XC. The Hermitage.; lines 23349-23516 confidence: medium
Ráma holds Sítá, touches a rock with red ore, and paints a holy mineral sign over her eyes and brow.
Ráma adorns Sítá with mineral dye and flowers, moves through the forest with her, and plays with her in the Aśoka grove; the passage compares the couple to Śiva and Umá.
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The Rámáyan of Válmíki, translated into English verse Canto XV. The Preparations. / Canto XVIII. The Sentence. / Canto XXII. Lakshman Calmed. / Canto XXVIII. The Dangers Of The Wood.; lines 14327-14413 confidence: medium
She says she must go with Ráma by her sire's command, cannot live without him, and will be safe while he is near even from the sky-ruler.
The lady says that with Ráma near even the sky-ruler cannot harm her, and declares that her husband is a God to her.
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The Rámáyan of Válmíki, translated into English verse Canto XVIII. The Sentence. / Canto XXII. Lakshman Calmed. / Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love.; lines 14416-14502 confidence: medium
“With thee is heaven, where’er the spot; / Each place is hell where thou art not.” She asks Ráma to go with her as her hope and bliss.
The speaker explicitly states that with Ráma is heaven wherever the place, and without him every place is hell.
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The Rámáyan of Válmíki, translated into English verse Canto XXIII. The Omens. / Canto XXIV. The Host In Sight. / Canto XXV. The Battle. / Canto XXVIII. Khara Dismounted.; lines 30272-30456 confidence: medium
Lakshmaṇ and Sítá come from a mountain cavern; after honors are paid, Sítá sees Ráma alive and victorious, clasps him in joy, and her fears are allayed.
After the battle, Sítá emerges from a mountain cavern with Lakshmaṇ, sees Ráma alive and victorious, and clasps him repeatedly.
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The Rámáyan of Válmíki, translated into English verse Canto XXIX. The Celestial Arms. / Canto XXXI. The Perfect Hermitage. / Canto XXXIII. The Sone. / Canto XXXIV. Brahmadatta.; lines 5004-5158 confidence: medium
“I love you all, sweet girls,” he cried, / “And each shall be my darling bride... Receive unending youth, and be / Immortal, O my loves, with me.”
The God of Wind asks the hundred daughters to be his brides and offers unending youth and immortality.
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The Rámáyan of Válmíki, translated into English verse Canto XXVIII. The Dangers Of The Wood. / Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark.; lines 16415-16585 confidence: medium
Sumitrá tells Kauśalyá that Ráma has left royal sway for the woods for his father’s sake and duty; Lakshmaṇ will follow the same course, and Sítá will not part from Ráma.
Sítá will not part from Ráma despite knowing the toils, Lakshmaṇ follows as armed guard, and Lakshmí is said to go in Sítá’s guise.
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The Rámáyan of Válmíki, translated into English verse Canto XXX. The Triumph Of Love. / Canto XXXII. The Gift Of The Treasures. / Canto XXXVII. The Coats Of Bark. / Canto XLVI. The Halt.; lines 16815-16962 confidence: medium
The women say waters used by Ráma will be holy and that forests, mountain peaks, rivers, rocky heights, groves, blossoms, and trees will welcome and delight him.
The women say waters touched by Ráma’s bath will be holy, natural places will welcome him, no danger comes near him, and all living beings depend on him as support, lord, and friend.
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The Rámáyan of Válmíki, translated into English verse CAREY AND MARSHMAN. / SCHLEGEL. / GORRESIO. / HIPPOLYTE FAUCHE.; lines 57689-57752 confidence: high
“Náráyaṇa and no other than he, Purushottama, is my husband. From the desire of obtaining him, I resort to this severe observance.”
Vedavatī says she has wed Nārāyaṇa in her heart and practices austerity to obtain him as husband.
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The Rámáyan of Válmíki, translated into English verse CAREY AND MARSHMAN. / SCHLEGEL. / GORRESIO. / HIPPOLYTE FAUCHE.; lines 57689-57752 confidence: medium
A commentator says Sītā was the principal cause of Rāvaṇa’s death while Rāma is credited with destroying him; another remark says Sītā was Lakshmī, and a cited statement links her as Sītā in Rāma’s life and Rukminī in Krishṇa’s birth.
The passage identifies Sītā with Lakshmī and cites the pattern that in Rāma’s life she became Sītā and in Krishṇa’s birth she became Rukminī.
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The Rámáyan of Válmíki, translated into English verse FOOTNOTES / ILIAD. XVII. 426. / GORRESIO. / MACBETH.; lines 64999-65148 confidence: medium
Prahláda, son of Hiraṇyakaśipu, is a pious Daitya devoted to Vishṇu and persecuted by his father.
Prahláda is devoted to Vishṇu and persecuted by his father Hiraṇyakaśipu.
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The Rámáyan of Válmíki, translated into English verse HIPPOLYTE FAUCHE. / ADDITIONAL NOTES. / H. H. WILSON. / THE SUPPLIANT DOVE.; lines 59297-59386 confidence: medium
Urvasî is presented as a Vedic name for morning or dawns and as the bright flush of light before sunrise; the note compares this to Eôs and Selênê.
Urvasî is both a dawn figure and the beloved of Purûravas whose presence with him is unstable and conditional.
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The Rámáyan of Válmíki, translated into English verse HIPPOLYTE FAUCHE. / ADDITIONAL NOTES. / H. H. WILSON. / THE SUPPLIANT DOVE.; lines 59297-59386 confidence: high
“Then she vanished. ‘I come back,’ she said, and went.”
Urvasî’s promise to return is fulfilled only for a moment at the Lotos-lake, and Purûravas cannot persuade her to remain.
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The Song Celestial; Or, Bhagavad-Gita CHAPTER IX / CHAPTER X / CHAPTER XI / CHAPTER XII; lines 2219-2299 confidence: high
Krishna says he loves the person who hates nothing living, is benign, compassionate, free from arrogance and self-love, patient, contented, firm in faith, self-mastered, true to word, and devoted to him.
Krishna repeatedly identifies the qualities of the devotee he loves and most loves those who live in single fervid faith and unseeing love.
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The Song Celestial; Or, Bhagavad-Gita CHAPTER VII / CHAPTER VIII / CHAPTER IX / CHAPTER X; lines 1675-1734 confidence: medium
Krishna says he speaks further words “to bring thee bliss and peace” to one who loves him.
The passage repeatedly describes love and service directed toward Krishna, and Krishna responds by granting peace, a perfected mind, and inner illumination.
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The Song Celestial; Or, Bhagavad-Gita CHAPTER VIII / CHAPTER IX / CHAPTER X / CHAPTER XI; lines 1984-2167 confidence: medium
Arjuna asks Krishna to turn gently toward him as father, friend, and lover; he says fear mingles with joy and requests the earthly, familiar form with disc, forehead-gem, mace, anadem, thousand arms, countless eyes, and the kind disguise of his charioteer.
Arjuna asks Krishna to turn gently toward him as a father to a son, friend to friend, and lover to beloved.
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The Song Celestial; Or, Bhagavad-Gita CHAPTER VIII / CHAPTER IX / CHAPTER X / CHAPTER XI; lines 2169-2216 confidence: medium
Krishna says he is known, seen, and entered only by fullest service, perfect faith, and uttermost surrender; the one who acts for him, finds him in all, adores, and loves all he made goes unto him.
Krishna says he is known, seen, and entered through service, faith, surrender, adoration, and love, and that such a person goes unto him.
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The Song Celestial; Or, Bhagavad-Gita CHAPTER XV / CHAPTER XVI / CHAPTER XVII / CHAPTER XVIII; lines 3045-3201 confidence: high
Krishna calls the teaching a hidden Truth of Truths, calls Arjuna beloved, commands devotion and single refuge, and promises freedom from sins.
Krishna calls Arjuna beloved, asks for heart, worship, service, faith, and love, promises that Arjuna will come to him, and offers freedom from sins through single refuge.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER IV / CHAPTER V / CHAPTER VI / CHAPTER VII; lines 1279-1400 confidence: medium
Among the four, Krishna calls the devout wise soul intent on the One highest, nearest, best, dear to him, faithful, and taking him as utmost blessedness; after many births such a person comes to him.
Krishna says the wise devout soul intent on the One is dear above all to him, and he is dear above all to that soul.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER IX / CHAPTER X / CHAPTER XI / CHAPTER XII; lines 2224-2304 confidence: high
Krishna says he loves the person who hates nothing living, is benign, compassionate, without arrogance or self-love, patient, contented, firm in faith, self-mastered, true to his word, and devoted to him.
Krishna repeatedly states 'That man I love' and ends by saying he most loves those living in single fervid faith and unseen love.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER VI / CHAPTER VII / CHAPTER VIII / CHAPTER IX; lines 1518-1677 confidence: high
Krishna accepts "a leaf, a flower, a fruit, water poured forth" when lovingly offered; he tells Arjuna to do eating, sacrifice, gifts, prayer, and fasting for him, thereby becoming free from Karmabandh and coming safely to him after leaving flesh.
Krishna accepts leaf, flower, fruit, or water when offered in faith and love and instructs all actions to be done for him.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER VII / CHAPTER VIII / CHAPTER IX / CHAPTER X; lines 1680-1739 confidence: medium
Krishna says the wise know him as "the source of all," cleave to him, serve and love him, and that he dispels ignorance "with bright rays of wisdom's lamp."
Those serving and loving Krishna ceaselessly receive from him a perfected mind by which they draw to him.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER VIII / CHAPTER IX / CHAPTER X / CHAPTER XI; lines 2174-2221 confidence: high
Krishna says Arjuna saw his secret countenance, revealed by mystic spell, because Krishna loved him; the form is shining, wonderful, vast, majestic, and manifold.
Krishna says Arjuna saw the secret countenance because Krishna loved him, and that this sight was kept for Arjuna alone rather than attained by ordinary religious acts.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER VIII / CHAPTER IX / CHAPTER X / CHAPTER XI; lines 2174-2221 confidence: high
Krishna says mortal eyes viewing the Immortal Soul unclad is not attained by Vedas, sacrifice, alms, works, penance, prayers, or psalms, and was kept for Arjuna alone.
Krishna repeatedly denies that Vedas, sacrifices, gifts, penance, or prayer produce the vision, and states that service, faith, surrender, adoration, and love give access to him.
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The Song Celestial; Or, Bhagavad-Gîtâ (from the Mahâbhârata) CHAPTER XV / CHAPTER XVI / CHAPTER XVII / CHAPTER XVIII; lines 2900-3049 confidence: medium
Krishna calls Arjuna precious, well-beloved, and sweet to him; tells him to give his heart, adore, serve, and cling to him in faith, love, and reverence; tells him to let go rites and duties, fly to him alone, make him single refuge, and promises to free his soul from all sins.
Krishna calls Arjuna precious, well-beloved, and sweet to him, and asks for heart, adoration, service, faith, love, and reverence.
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The Upanishads Part First / Part Second / Part Third / Part fourth; lines 2454-2594 confidence: medium
Brahman is called Tadvanam, the object of adoration; whoever knows Brahman thus becomes one with Him and is loved by all beings.
Brahman is worshipped as Tadvanam, and the one who knows Brahman in this aspect is loved by all beings.
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Vedic Hymns, Part I (Sacred Books of the East, Vol. 32) NOTES: 1, 166,12. 265 / NOTES. I, 166, 12. 267 / NOTES. I, 166, 12. 269 / MANDALA I, HYMN 167. 273; lines 20823-20856 confidence: medium
The speaker asks to be called most beloved of Indra in battle today, tomorrow, and day by day, and asks that the lord of the Maruts be with the group.
The speaker asks to be counted as most beloved of Indra in battle today, tomorrow, and day by day.
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Vedic Hymns, Part I (Sacred Books of the East, Vol. 32) NOTES. I, 166, 12. 267 / NOTES. I, 166, 12. 269 / MANDALA I, HYMN 167. 273 / NOTES.; lines 20859-20914 confidence: high
Lightning is represented as the wife or beloved of the Maruts and called Rodasi; this is distinguished from rodasi, the dual word meaning heaven and earth.
The passage states that lightning is represented as the wife or beloved of the Maruts and is called Rodasi in that role.
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Vedic Hymns, Part I (Sacred Books of the East, Vol. 32) NOTES. I, 37, 14. 79 / MANDALA I, HYMN 38. SI / NOTES. I, 38, I. 83 / NOTES.; lines 10497-10602 confidence: low
“Who and where was there a mortal to be loved by thee, O beloved, immortal Dawn?”
A cited parallel asks about a mortal loved by the beloved, immortal Dawn.
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Vedic Hymns, Part I (Sacred Books of the East, Vol. 32) NOTES. II, 34, 2. 299 / NOTES: U1, 34, 3. 301 / NGTES::' 11; 34, 7. 303 / NOTES: II; 34, 13. 307; lines 22370-22463 confidence: medium
The note cites a passage where mortal Pururavas longs for the immortal Apsaras; the kshovis are glossed as Apsaras or morning clouds that beautified their bodies like ducks in water and sporting horses.
The cited passage describes mortal Pururavas longing for the immortal Apsaras.
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Vedic Hymns, Part II (Sacred Books of the East, Vol. 46) MAVODALA 1, HYMN 65. / ASH7AKA I, ADHYAYA 5, VARGA 9. / MANDALA I, HYMN 65. 55 / NG EES:; lines 2976-3177 confidence: medium
“He who is born is one twin; he who will be born is the other twin—the lover of maidens, the husband of wives.”
The hymn describes Agni as lover of maidens and husband of wives.
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Vedic Hymns, Part II (Sacred Books of the East, Vol. 46) WEATV LIX 1 LY VEING 2 / ASHT7AKA III, ADHYAYA 4, VARGA 16-19. / MANDALA IV, HYMN 2. 319 / MANDALA IV, HYMN 2. 323; lines 15507-15682 confidence: medium
The note says Urvasi is an Apsaras; Ayu is the son of Purtiravas and Urvasi; after the cows were conquered and Agni looked over divine generations, the Urvasis or Apsarases longed for mortal love and human propagation and gave birth to children such as Ayu.
The note says Urvasis or Apsarases longed for mortal love and gave birth to children such as Ayu; Ayu is identified as son of Purtiravas and Urvasi.
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celtic irish
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Gods and Fighting Men BOOK FIVE: OISIN'S CHILDREN / BOOK SIX: DIARMUID. / CHAPTER I. BIRTH OF DIARMUID / CHAPTER II. HOW DIARMUID GOT HIS LOVE-SPOT; lines 10542-10615 confidence: medium
Youth tells Diarmuid she cannot belong to him again but puts a love-spot on his forehead, making women unable to refuse him love.
Youth places a love-spot on Diarmuid's forehead, after which no woman who sees him can refuse him love.
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Gods and Fighting Men BOOK FIVE: OISIN'S CHILDREN / BOOK SIX: DIARMUID. / CHAPTER I. BIRTH OF DIARMUID / CHAPTER II. HOW DIARMUID GOT HIS LOVE-SPOT; lines 10542-10615 confidence: medium
Youth tells Diarmuid she once belonged to him and cannot again, but calls him over and places a love-spot on his forehead so that no woman who sees him can refuse him love.
Youth gives Diarmuid a love-spot on his forehead, after which no woman who sees him can refuse him love.
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Gods and Fighting Men BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG / CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG; lines 3158-3248 confidence: medium
Enghi, Elcmair's daughter, loves Angus without seeing him and seeks him at a games gathering between Cletech and Sidhe in Broga; the Sidhe come every Samhain with a nut as food; the sons of Derc secretly carry her away, causing lamentation and the name Cnoguba.
Enghi loves Angus and is carried away by the sons of Derc; Angus loves Caer Ormaith and brings her away to Brugh na Boinn.
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Gods and Fighting Men BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG / CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG; lines 3158-3248 confidence: medium
In Maeve's time, Angus loves Caer Ormaith of Connacht and brings her away to Brugh na Boinn.
Angus sets his love on Caer Ormaith and brings her away to Brugh na Boinn.
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Gods and Fighting Men BOOK SIX: DIARMUID. / CHAPTER I. BIRTH OF DIARMUID / CHAPTER II. HOW DIARMUID GOT HIS LOVE-SPOT / CHAPTER III. THE DAUGHTER OF KING UNDER-WAVE; lines 10618-10723 confidence: medium
The woman agrees to go with Diarmuid to the house if he promises not to say to her three times what way she was when she came to him; Diarmuid promises never to say it.
The chapter heading identifies the woman as the Daughter of King Under-Wave, Finn calls her Queen, she becomes Diarmuid's beloved, and she sets a condition that he must not mention her former state three times.
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Gods and Fighting Men BOOK SIX: DIARMUID. / CHAPTER I. BIRTH OF DIARMUID / CHAPTER II. HOW DIARMUID GOT HIS LOVE-SPOT / CHAPTER III. THE DAUGHTER OF KING UNDER-WAVE; lines 10725-10807 confidence: medium
The rush-gathering woman says the daughter of King Under-Wave has come home after seven years under enchantment, is sick, cannot be helped by gathered physicians, and finds a bed of rushes most wholesome.
The woman sought by Diarmuid is revealed in Land-under-Wave as the daughter of King Under-Wave, and she and Diarmuid rejoice at their meeting.
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Gods and Fighting Men BOOK THREE: THE BATTLE OF THE WHITE STRAND. / CHAPTER I. THE ENEMIES OF IRELAND / CHAPTER II. CAEL AND CREDHE / CHAPTER III. CONN CRITHER; lines 7238-7298 confidence: medium
The nearest woman stops Conn, says they are not there to harm him, and identifies them as three sisters from Tir nan Og who all love him and have come to help him.
Three sisters from Tir nan Og say they love Conn equally and have come to help him in battle.
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Gods and Fighting Men CHAPTER I. THE FIGHT WITH THE FIRBOLGS / CHAPTER II. THE REIGN OF BRES / BOOK TWO: LUGH OF THE LONG HAND. / CHAPTER I. THE COMING OF LUGH; lines 1184-1265 confidence: medium
Birog of the Mountain dresses Cian in women’s clothes, carries him by wind to Ethlinn’s tower, gains entry, enchants the women to sleep, and Cian meets Ethlinn, who recognizes his face from dreams and gives him her love.
Ethlinn says Cian’s face is the one she has seen in dreams, gives him her love, and later gives birth to a son identified as Lugh.
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Gods and Fighting Men CHAPTER I. THE FLIGHT FROM TEAMHAIR / CHAPTER II. THE PURSUIT / CHAPTER III. THE GREEN CHAMPIONS / CHAPTER IV. THE WOOD OF DUBHROS; lines 12055-12156 confidence: medium
Aine and Aoife, daughters of Manannan, dispute because each says her beloved is the better hurler; this leads to a hurling match between the Men of Dea and the Fianna of Ireland on a plain near Loch Lein.
Aine and Aoife's dispute over the superiority of their respective beloveds' hurling leads to a major match between the Men of Dea and the Fianna.
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Gods and Fighting Men CHAPTER I. THE LANDING / CHAPTER II. THE BATTLE OF TAILLTIN / BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG; lines 2984-3048 confidence: high
Bodb Dearg's daughter Scathniamh loves Caoilte; after a long separation she comes from the cave of Cruachan when Caoilte is old and asks for the bride-price he promised.
Scathniamh remains young and comely as one of the Tuatha de Danaan who never change or die, while Caoilte is old and withered as one of the sons of Miled.
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Gods and Fighting Men CHAPTER I. THE LANDING / CHAPTER II. THE BATTLE OF TAILLTIN / BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG; lines 2984-3048 confidence: high
Scathniamh, Bodb Dearg's daughter, had loved Caoilte; after long separation she comes from the cave of Cruachan to ask his promised bride-price. Caoilte gives her gold from a cairn and explains that he is of the sons of Miled who fade, while she is of the Tuatha de Danaan who never change or die.
Scathniamh, a Tuatha de Danaan woman, is still young and comely when she meets the old, withered Caoilte, who says his people fade while hers never change and never die.
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Gods and Fighting Men CHAPTER I. THE LANDING / CHAPTER II. THE BATTLE OF TAILLTIN / BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG; lines 2984-3048 confidence: medium
Scathniamh, Bodb Dearg's daughter, had loved Caoilte; after long separation she comes from the cave of Cruachan to ask his promised bride-price. Caoilte gives her gold from a cairn and explains that he is of the sons of Miled who fade, while she is of the Tuatha de Danaan who never change or die.
Scathniamh comes from the cave of Cruachan to claim the bride-price Caoilte had promised her, and he pays it with gold from a cairn.
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Gods and Fighting Men CHAPTER II. CAEL AND CREDHE / CHAPTER III. CONN CRITHER / CHAPTER IV. GLAS, SON OF BREMEN / CHAPTER V. THE HELP OF THE MEN OF DEA; lines 7362-7455 confidence: medium
Bodb Dearg first says the Tuatha de Danaan are not bound to help Ireland; Dolb answers that Irish leaders have wives, mothers, foster-mothers, or sweethearts among the Tuatha de Danaan and have helped them in need; Bodb accepts and summons them.
Dolb argues that Irish leaders have wives, mothers, foster-mothers, or sweethearts among the Tuatha de Danaan and that Ireland has helped them before; Bodb then gathers the Tuatha de Danaan.
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Gods and Fighting Men CHAPTER II. HOW DIARMUID GOT HIS LOVE-SPOT / CHAPTER III. THE DAUGHTER OF KING UNDER-WAVE / CHAPTER IV. THE HARD SERVANT / CHAPTER V. THE HOUSE OF THE QUICKEN TREES; lines 11272-11333 confidence: medium
Conan asks Diarmuid for a share of the feast and taunts him that he would listen to a comely woman. The passage says many women loved Diarmuid, that he loved many women, and that he was called brave, hardy, comely, the Hawk of Ess Ruadh, and Diarmuid-na-man.
Diarmuid is described as loved by many women and loving many women, and Conan’s taunt assumes he would heed a comely woman.
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Gods and Fighting Men CHAPTER II. THE CALL OF OISIN / CHAPTER III. THE LAST OF THE GREAT MEN / BOOK ELEVEN: OISIN AND PATRICK. / CHAPTER I. OISIN'S STORY; lines 14361-14452 confidence: high
The king welcomes Oisin, promises long-lasting life, eternal youth, and every delight, identifies himself as king, the queen as queen, and Niamh as their daughter who sought Oisin to be her husband forever.
The king says Niamh crossed the sea seeking Oisin to be her husband forever, and Oisin marries her in the Country of the Young.
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Gods and Fighting Men CHAPTER II. THE CALL OF OISIN / CHAPTER III. THE LAST OF THE GREAT MEN / BOOK ELEVEN: OISIN AND PATRICK. / CHAPTER I. OISIN'S STORY; lines 14361-14452 confidence: medium
The king welcomes Oisin son of Finn, says he will have lasting life, youth forever, and every delight, identifies himself and the queen, and says their daughter Niamh crossed the sea to seek Oisin as her husband forever.
The king says Niamh, his daughter, crossed the sea to seek Oisin as her husband forever, and Oisin says he married Niamh in the Country of the Young.
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Gods and Fighting Men CHAPTER II. THE CALL OF OISIN / CHAPTER III. THE LAST OF THE GREAT MEN / BOOK ELEVEN: OISIN AND PATRICK. / CHAPTER I. OISIN'S STORY; lines 14454-14544 confidence: medium
Oisin asks leave of the king and Niamh to return to Ireland; Niamh fears he will not return, warns him not to get off the white horse or touch the ground, says he would become old and blind, and gives him a farewell kiss.
Niamh expresses grief at Oisin's return to Ireland, kisses him farewell, and warns him of the condition for safe return.
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Gods and Fighting Men CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE; lines 3314-3340 confidence: medium
Herb-curers said Aine had power over the whole body; she gave gifts of poetry and music, often gave her love to men, and was called the Leanan Sidhe, the Sweet-heart of the Sidhe.
Aine gives poetry and music, gives her love to men, and is called the Leanan Sidhe, the Sweet-heart of the Sidhe.
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Gods and Fighting Men CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE; lines 3314-3340 confidence: high
Herb-curers say Aine has power over the whole body; she gives poetry, music, and love, and is called the Leanan Sidhe, the Sweet-heart of the Sidhe.
Aine often gives her love to men and is called the Leanan Sidhe, the Sweet-heart of the Sidhe.
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Gods and Fighting Men CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL; lines 3343-3385 confidence: high
Aoibhell, a woman of the Sidhe dwelling at Craig Liath, loves Dubhlaing ua Artigan; before the battle he returns to join Murchadh and fight for the Gael, and Aoibhell tries to stop him by placing an invisible Druid covering around him.
Aoibhell, a woman of the Sidhe who loves Dubhlaing, urges him to stop and offers him two hundred years of happy life with her.
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Gods and Fighting Men CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL; lines 3343-3385 confidence: medium
Aoibhell is introduced as a woman of the Sidhe dwelling in Craig Liath; she loves Dubhlaing ua Artigan, who returns to fight with Murchadh, and she tries to stop him by placing a Druid covering on him so no one can see him.
Aoibhell, a woman of the Sidhe who loves Dubhlaing, asks him to stay with her and promises two hundred years of happy life if he does not continue with Murchadh.
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Gods and Fighting Men CHAPTER III. THE BATTLE OF GABHRA / BOOK TEN: THE END OF THE FIANNA. / CHAPTER I. DEATH OF BRAN / CHAPTER II. THE CALL OF OISIN; lines 14164-14263 confidence: high
"Niamh of the Golden Head is my name"; she says she is "the daughter of the King of the Country of the Young."
Niamh, a royal woman from the Country of the Young, declares love for Oisin and calls him to leave with her; Oisin accepts and departs.
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Gods and Fighting Men CHAPTER III. THE BATTLE OF GABHRA / BOOK TEN: THE END OF THE FIANNA. / CHAPTER I. DEATH OF BRAN / CHAPTER II. THE CALL OF OISIN; lines 14164-14263 confidence: medium
Niamh tells Finn she is Niamh of the Golden Head, daughter of the King of the Country of the Young, has come from over the sea, and loves Oisin for his name, bravery, and comeliness.
Niamh comes from the Country of the Young over the sea, declares love for Oisin, calls him to come away with her, and promises herself as wife; Oisin accepts and leaves.
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Gods and Fighting Men CHAPTER IV. RED RIDGE / BOOK THREE: THE BATTLE OF THE WHITE STRAND. / CHAPTER I. THE ENEMIES OF IRELAND / CHAPTER II. CAEL AND CREDHE; lines 7133-7235 confidence: medium
Cael comes from Brugh na Boinne and says he sought his nurse Muirenn about a high marriage with Credhe, a Sidhe woman shown to him in a dream.
Cael says Credhe, a woman of the Sidhe, was shown to him in a dream and is the object of his proposed high marriage.
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Gods and Fighting Men CHAPTER IV. RED RIDGE / BOOK THREE: THE BATTLE OF THE WHITE STRAND. / CHAPTER I. THE ENEMIES OF IRELAND / CHAPTER II. CAEL AND CREDHE; lines 7133-7235 confidence: medium
Cael comes from Brugh na Boinne and says he consulted Muirenn, his nurse, about a dream of high marriage with Credhe, a woman of the Sidhe. Finn says Credhe deceives men and requires a poem cataloguing her vessels and palaces; Cael says Muirenn gave him such a poem.
Cael says a high marriage and Credhe, a woman of the Sidhe, were shown to him in a dream; he then travels with the Fianna to her Sidhe dwelling to seek marriage.
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Gods and Fighting Men CHAPTER IV. THE HARD SERVANT / CHAPTER V. THE HOUSE OF THE QUICKEN TREES / BOOK SEVEN: DIARMUID AND GRANIA. / CHAPTER I. THE FLIGHT FROM TEAMHAIR; lines 11428-11494 confidence: medium
Diarmuid keeps his cap over a love-spot on his forehead; when the cap falls as he separates the dogs, Grania sees him and immediately feels great love for him.
Grania falls in love with Diarmuid immediately after seeing the love-spot on his forehead.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3388-3493 confidence: high
Midhir takes Etain Echraide as wife; Fuamach is jealous and calls the Druid Bresal Etarlaim, who puts spells on Etain so Fuamach can drive her away.
Fuamach is jealous of Midhir's love for Etain, uses a Druid's spells to drive Etain away, and later tries to destroy her.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3388-3493 confidence: medium
Angus Og takes Etain into his keeping and makes a sunny house for her with sweet-smelling flowers and invisible walls.
Angus keeps Etain with him and makes for her a sunny house with flowers and invisible walls that cannot be seen through or seen.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3388-3493 confidence: medium
Eochaid Feidlech sees Etain at the side of a well with a gold-and-silver comb, a silver basin with golden birds and purple stones, shining garments, and yellow-gold hair.
Eochaid, High King of Ireland, sees Etain beside a well with a gold-and-silver comb, silver basin, shining ornaments, and bright hair.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3388-3493 confidence: medium
The man speaks about Etain at the Mound of Fair Women, her childhood, healing the king's eye, being swallowed by Etar's wife, and future battles and destruction for her sake; he vanishes and is identified as Midhir.
Midhir's speech says many battles will happen for Etain's sake, with destruction among the Sidhe and war on thousands of men.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3495-3597 confidence: medium
Etain says she is daughter of Etar, King of the Riders of the Sidhe; Eochaid loves her, pays bride-price, and brings her to Teamhair as wife.
Etain is identified as daughter of the King of the Riders of the Sidhe and becomes the beloved wife of Eochaid; Ailell also falls in love with her and wastes away from desire.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3495-3597 confidence: medium
Eochaid has the woman brought to him; she says she is Etain, daughter of Etar, King of the Riders of the Sidhe; Eochaid loves her, pays the bride-price, and brings her to Teamhair as his wife.
Etain is identified as daughter of Etar, King of the Riders of the Sidhe, and Eochaid takes her to Teamhair as his wife after bride-price is paid.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3599-3699 confidence: medium
At a fair at Teamhair, Etain alone sees and hears a rider who sings of his country: beautiful unblemished people, youth without aging, pleasant fields and flowers, streams of mead and wine, no care or sorrow, and inhabitants who see others while unseen.
Midhir addresses Etain as a beautiful woman, describes his wonderful ageless country with no sorrow, and asks her to come with him.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3599-3699 confidence: medium
The man identifies himself as Midhir of Bri Leith, says he was Etain's first husband, says Fuamach's jealousy and Bresal Etarlaim's spells parted them, asks Etain to come away, and says he caused Ailell's desire and hindered the meeting to keep Etain's good name.
Midhir says he was Etain's first husband, asks her to come away with him, and later offers her a place among his people in his wonderful country; Etain frames refusal in terms of loyalty to Eochaid the High King.
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Gods and Fighting Men CHAPTER IX. MANANNAN AT PLAY / CHAPTER X. HIS CALL TO BRAN / CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE; lines 4450-4532 confidence: medium
Gebann, a chief Druid in Manannan's country, has a daughter, Cliodna of the Fair Hair, who falls in love with Ciabhan and agrees to leave with him the next day.
Cliodna, daughter of a chief Druid in Manannan's country, falls in love with Ciabhan and agrees to go away with him.
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Gods and Fighting Men CHAPTER VII. ILBREC OF ESS RUADH / CHAPTER VIII. THE CAVE OF CRUACHAN / CHAPTER IX. THE WEDDING AT CEANN SLIEVE / CHAPTER X. THE SHADOWY ONE; lines 9711-9745 confidence: medium
After Finn agrees, the tall man brings them into the Sidhe hill at Glandeirgdeis; at the house door he strikes the pig with a Druid rod, and it changes into a beautiful young woman called Scathach, the Shadowy One.
Finn asks Scathach, a woman revealed inside the Sidhe hill and daughter of the tall Sidhe host, in marriage; her father agrees for that night.
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Gods and Fighting Men CHAPTER VIII. THE CAVE OF CRUACHAN / CHAPTER IX. THE WEDDING AT CEANN SLIEVE / CHAPTER X. THE SHADOWY ONE / CHAPTER XI. FINN'S MADNESS; lines 9748-9800 confidence: medium
Sciathbreac asks whom the woman wants; she names Finn. She identifies herself as Daireann, daughter of Bodb Dearg, son of the Dagda, and asks to be Finn's wife if he grants a bride-gift: exclusive wifehood for a year and half his time afterward. Finn refuses.
Daireann, identified through divine genealogy and later called a woman of the Sidhe, asks to be Finn's wife under specific terms; after he refuses, she gives him a drink that causes madness.
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Gods and Fighting Men CHAPTER X. HIS CALL TO BRAN / CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE / CHAPTER XIII. HIS CALL TO CONNLA; lines 4535-4606 confidence: high
The woman says she is asking Connla to come to Magh Mell, where he will be a king forever without sorrow or fret and his body will not wither from youth and comeliness.
The woman of the Sidhe repeatedly calls Connla away from his father and people; Conn calls it an attack bringing away his son, and Connla finally leaves with her.
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Gods and Fighting Men CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE / CHAPTER XIII. HIS CALL TO CONNLA / CHAPTER XIV. TADG IN MANANNAN'S ISLANDS; lines 4786-4887 confidence: high
Connla identifies himself as son of Conn of the Hundred Battles; he and the girl say she brought him there because of love so they could look at one another forever.
Connla says the girl of many shapes brought him there, and she says she did so because of love and affection so they could look at one another forever.
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Gods and Fighting Men CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE / CHAPTER XIII. HIS CALL TO CONNLA / CHAPTER XIV. TADG IN MANANNAN'S ISLANDS; lines 4786-4887 confidence: medium
The young man identifies himself as Connla, son of Conn of the Hundred Battles, says the girl of many shapes brought him there, and the girl says love made her bring him so they could look at one another forever.
Connla says the girl of many shapes brought him to the place, and she says love and affection caused her to bring him so they could look at one another forever.
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Gods and Fighting Men CHAPTER XII. CLIODNA'S WAVE / CHAPTER XIII. HIS CALL TO CONNLA / CHAPTER XIV. TADG IN MANANNAN'S ISLANDS / CHAPTER XV. LAEGAIRE IN THE HAPPY PLAIN; lines 4901-5032 confidence: medium
Laegaire returns with the woman and puts her hand in Fiachna's hand; that night Fiachna's daughter Deorgreine is given to Laegaire as wife, fifty women are given to Laegaire's fifty men, and they stay to the end of a year.
After Laegaire returns Fiachna's wife, Fiachna's daughter Deorgreine is given to Laegaire as wife, and fifty women are given to his men.
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Gods and Fighting Men CHAPTER XIII. FINN AND THE PHANTOMS / CHAPTER XIV. THE PIGS OF ANGUS / CHAPTER XV. THE HUNT OF SLIEVE CUILINN / BOOK FIVE: OISIN'S CHILDREN; lines 10403-10462 confidence: medium
Aedh identifies the cupbearer as his daughter Etain, says she loves Osgar, and explains that a rich bride-price from the High King's son was refused because Etain did not want it.
Etain is called a darling of the Tuatha de Danaan; she loves Osgar of the Fianna, chooses him, secures pledges, and marries him.
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Gods and Fighting Men CHAPTER XIII. FINN AND THE PHANTOMS / CHAPTER XIV. THE PIGS OF ANGUS / CHAPTER XV. THE HUNT OF SLIEVE CUILINN / BOOK FIVE: OISIN'S CHILDREN; lines 10403-10462 confidence: medium
Aedh identifies the drink-serving girl as Etain, his daughter and a darling of the Tuatha de Danaan; she loves Osgar, sent the messenger in her own shape, and rejected the High King's son's large bride-price through the Men of Dea.
Etain is described as a darling of the Tuatha de Danaan, loves Osgar of the Fianna, rejects another suitor's bride-price, secures Osgar's pledge, and has a wedding-feast with him.
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Gods and Fighting Men PART ONE: THE GODS. / BOOK ONE: THE COMING OF THE TUATHA DE DANAAN. / CHAPTER I. THE FIGHT WITH THE FIRBOLGS / CHAPTER II. THE REIGN OF BRES; lines 966-1069 confidence: medium
Eri says Bres's father is Elathan, a Fomor king, who came to her over a level sea in a great vessel that seemed silver.
Elathan comes to Eri over a level sea in a silver-seeming vessel, appears adorned with gold, receives her love, and departs the same way.
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Gods and Fighting Men WITH A PREFACE BY W.B. YEATS / DEDICATION TO THE MEMBERS OF THE IRISH LITERARY SOCIETY OF NEW YORK / AUGUSTA GREGORY. / PREFACE; lines 193-263 confidence: high
The gods come to Cuchulain; he is the son of one of the greatest gods, but his country and theirs are far apart and they come to him as god to mortal.
Cuchulain is called a god's son, and Fianna or royal leaders are said to have wives, mothers, foster-mothers, or sweethearts among the Tuatha de Danaan.
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Gods and Fighting Men WITH A PREFACE BY W.B. YEATS / DEDICATION TO THE MEMBERS OF THE IRISH LITERARY SOCIETY OF NEW YORK / AUGUSTA GREGORY. / PREFACE; lines 265-327 confidence: medium
Oisin and Bran ride or sail in an enchanted ship to a divine country, seeking more delighted companionship or love with unfading faces.
Oisin and Bran are said to ride or sail in an enchanted ship to a divine country, seeking delighted companionship or love with faces that never fade.
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Heroic Romances of Ireland A. H. LEAHY / IN TWO VOLUMES / VOL. I / PREFACE; lines 503-580 confidence: medium
The Sick-bed of Cuchulain and Courtship of Etain are discussed in relation to compiler additions; the Sick-bed has two versions, involves supernatural beings, and concludes with important action by two women heroines, including Fand resigning her lover to a mortal woman with a better claim.
In the Sick-bed conclusion, Fand resigns her lover to a weaker mortal woman who has a better claim upon him, in a tale dealing with supernatural beings.
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Heroic Romances of Ireland A. H. LEAHY / IN TWO VOLUMES / VOL. I / PREFACE; lines 503-580 confidence: medium
The Sick-bed is said to consist of two versions and to be a romance dealing with supernatural beings; its conclusion is notable for two women heroines, especially Fand resigning her lover to a weaker mortal woman with a better claim.
The Sick-bed conclusion is summarized through Fand's action in resigning her lover to a weaker mortal woman who has a better claim.
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Heroic Romances of Ireland A. H. LEAHY / IN TWO VOLUMES / VOL. I / PREFACE; lines 503-580 confidence: medium
The Sick-bed is described as two versions; the second deals with supernatural beings and ends with notable action by two women heroines, including Fand resigning her lover to a weaker mortal woman with a better claim.
The Sick-bed conclusion is described as involving supernatural beings and Fand's resignation of her lover to a weaker mortal woman with a better claim.
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Heroic Romances of Ireland ACCORDING TO THE GLENN MASAIN VERSION / ALSO THE CONCLUSION OF THE TALE FROM THE SAME VERSION / THE COMBAT AT THE FORD / INTRODUCTION; lines 4722-4800 confidence: low
Ferdia is heroic but inferior to his victor; he fights from fear of disgrace. The passage minimizes the Finnabar passion motive, notes Maev’s invented resentment motive in another version, and rejects a modern race-enmity motive as absent from old versions.
Cuchulain charges Ferdia with passion for Finnabar, but the passage says this appears mainly in Cuchulain’s speeches and lacks the importance it has in another version.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 2813-2910 confidence: low
“Liban” is named at “swift Labra's right hand,” and Fand wishes “To sleep at Cuchulain's side.”
The song says Fand wishes to sleep at Cuchulain's side, linking desire with the message about his healing.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 2813-2910 confidence: medium
The visitor's song says Aed Abra's daughters would heal Cuchulain, reports Fand's wish for Cuchulain to come and sleep at her side, and says Liban will seek and cure him on Samhain.
The messenger's song says Fand wishes Cuchulain to come and sleep at her side, and that Liban will seek him on Samhain and cure his illness.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 2912-3083 confidence: medium
At the pillar, the woman in the green mantle identifies herself as Liban, says Fand has been released by Manannan and loves Cuchulain, and reports Labraid's offer: the woman in exchange for one day's battle service against Senach, Eochaid Juil, and Yeogan.
Fand, associated with Manannan and Mag Mell, sends greeting through Liban and is said to have set her love on Cuchulain.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 2912-3083 confidence: medium
Cuchulain meets the woman in the green mantle, who says she came seeking friendship and brings greeting from Fand; she identifies herself as Liban and says Fand has been released by Manannan and loves Cuchulain.
Fand, connected with Manannan and the land from which Liban comes, sends greeting and love to Cuchulain through Liban.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3086-3238 confidence: medium
Cuchulain calls Laeg and tells him to go to Emer, saying fairy women have come upon him, destroyed his strength, that he improves hourly, and that Emer should come seek him.
Cuchulain says fairy women have come upon him and destroyed his strength; Laeg's poem says fairy or witch powers have beaten down his strength; Emer later frames the condition as lying prostrate for a woman's love.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3241-3435 confidence: medium
A fair gifted lady comes from the hall, unmatched in Erin, with hair like gold and words that cause love and longing; she questions Laeg about serving Him of Murthemne and about the son of Dechtire.
Laeg describes a lady, unmatched in Erin, with golden hair and words that break hearts with love and longing.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3241-3435 confidence: medium
A fair lady with gold-like hair steps from the hall; Laeg says her words bring love and longing. She asks who he is, whether he serves Him of Murthemne, and whether Dechtire’s son comes.
Laeg describes a fair golden-haired lady whose sweet speech brings love and longing and who asks about Cuchulain.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3437-3584 confidence: medium
Liban wishes she could see Laeg's form changed into Cuchulain's; Laeg praises Aed Abra's daughters and Fand's extraordinary beauty, comparing it to rushing waters and ranking it beyond kings, queens, and all past ages.
Fand and Aed Abra's daughters are described as extraordinarily beautiful, and Fand later welcomes and praises Cuchulain.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3587-3751 confidence: medium
Cuchulain tells Fand not to fear, to enter his strong car, and that he will guard her against Emer and women from Ulster's four quarters.
Cuchulain tells Fand to enter his car and promises to protect her from Emer and the women of Ulster; Fand is presented as a beloved tryst partner with exceptional attributes, including riding the ocean billows.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3587-3751 confidence: medium
Cuchulain sleeps with the lady, abides a month with her, comes to bid farewell, and they appoint a tryst at the Strand of the Yew-Tree's Head.
Cuchulain spends a month with Fand, arranges a tryst with her, praises her beauty, lofty race, skills, wealth, and ability to ride ocean billows.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3753-3880 confidence: medium
Manannan sees that Fand is engaged in unequal warfare with the women of Ulster and likely to be left by Cuchulain; he comes from the east, and only Fand is aware of him.
Fand, a fairy-associated lady connected to Manannan, leaves Cuchulain and returns with Manannan after Cuchulain has failed her.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3753-3880 confidence: medium
Opening stanzas say a maid should seek equal love; Emer is accused of bringing fifty women to make Fand captive and of thinking of murder; the speaker claims fair virgins at home will win her war.
Fand says she has not received what she wished from Cuchulain, names danger and insult, and departs with Manannan.
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Heroic Romances of Ireland FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION / THE SICK-BED OF CUCHULAIN; lines 3753-3880 confidence: medium
Manannan sees that Fand, daughter of Aed Abra, is in unequal warfare with the women of Ulster and likely to be left by Cuchulain; he comes from the east to seek her, seen only by Fand, who grieves.
Manannan, repeatedly identified with the sea and invisible to ordinary observers, comes to seek Fand and takes her away as his spouse.
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Heroic Romances of Ireland LITERAL TRANSLATION / TEXT OF LEABHAR NA H-UIDHRI / INTRODUCTION / TEXT WITH INTERLINEAR TRANSLATION; lines 13014-13287 confidence: medium
The narrative says that during the year before Mider came to Eochaid for chess he had been wooing Etain; he addresses her as a fair-haired lady and asks whether she will come with him into a marvelous land.
Mider woos Etain by inviting her to a marvelous land with music, beauty, sweet streams, mead, wine, ale, new milk, and a different mode of visibility.
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Heroic Romances of Ireland MAC DATHO'S BOAR / FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION; lines 2611-2704 confidence: medium
The passage praises the final account in which a fairy lady voluntarily gives up her lover to her rival and explains her motives.
The Literary form’s conclusion is described as the voluntary action of a fairy lady who gives up her lover to her rival, with her motives explained.
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Heroic Romances of Ireland MAC DATHO'S BOAR / FROM THE BOOK OF LEINSTER (TWELFTH-CENTURY MS.) / THE SICK-BED OF CUCHULAIN / INTRODUCTION; lines 2611-2704 confidence: medium
The introduction praises the Literary form, including Cuchulain’s message to his wife, messenger narration, Cuchulain’s modest account of his deeds, and the final relation of a fairy lady who voluntarily gives up her lover to her rival with her motives.
The Literary form’s conclusion is described as the voluntary action of a fairy lady who gives up her lover to her rival, together with her motives.
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Heroic Romances of Ireland MORTALS / IMMORTALS / TAIN BO FRAICH / THE RAID FOR THE CATTLE OF FRAECH; lines 9353-9526 confidence: medium
Ailill orders Fraech to bring a wet branch from the rowan tree. Fraech breaks a branch while swimming, and Findabar praises his beauty as he carries the berries.
Findabar, Ailill's daughter, admires Fraech and risks herself by entering the river with his sword while Ailill throws a spear toward her.
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Heroic Romances of Ireland PAGE 58 / PAGE 59 / PAGE 60 / PAGE 61; lines 7351-7362 confidence: medium
The note proposes that Manannan may simply have left Fand free to pursue her own course, adding that divine husbands often did this in other mythologies.
The passage proposes that Manannan may have left Fand at liberty and explicitly relates this to the behavior of divine husbands in other mythologies.
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Heroic Romances of Ireland PAGE 67 / PAGES 68, 69 / PAGE 69 / PAGE 71; lines 7569-7680 confidence: medium
A beautiful band of women are identified as the daughters of Aed Abra; Fand's beauty is said to exceed that of queen or king and to have no equal up to the speaker's time.
The second description says the beauty of Fand exceeds royal beauty and has not found its equal.
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Heroic Romances of Ireland PREFACE / INTRODUCTION IN VERSE / PRONUNCIATION OF PROPER NAMES / LIST OF NAMES; lines 800-886 confidence: medium
Entries identify Ailill mac Mata, Conor, and Mac Datho as kings; Ailill Anglonnach and Mider as lovers of Etain, with Mider a fairy lover; Conall and Ket as champions; Emer as wife of Cuchulain; Fand as a fairy princess in love with Cuchulain; Fergus as step-father to King Conor; and Maev as Queen of Connaught.
The list identifies Fand as a fairy princess in love with Cuchulain and Mider as Etain's fairy lover.
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Heroic Romances of Ireland PREFACE / INTRODUCTION IN VERSE / PRONUNCIATION OF PROPER NAMES / LIST OF NAMES; lines 800-886 confidence: low
Eochaid Juil is identified as a fairy king killed by Cuchulain.
Fand is a fairy princess in love with Cuchulain, and Mider is Etain's fairy lover; another entry names Eochaid Juil as a fairy king.
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Heroic Romances of Ireland PREFACE / INTRODUCTION IN VERSE / PRONUNCIATION OF PROPER NAMES / LIST OF NAMES; lines 800-886 confidence: medium
Fand is identified as a fairy princess in love with Cuchulain in the “Sick-bed.”
Fand is described as a fairy princess in love with Cuchulain, and Mider as Etain’s fairy lover.
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Heroic Romances of Ireland PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI / THE COURTSHIP OF ETAIN / EGERTON VERSION; lines 1164-1257 confidence: medium
Etain's golden hair, pale arms, rosy cheeks, pearl-like teeth, blue eyes, crimson lips, white shoulders, wrists, fingers, side, thighs, knees, ankles, and feet are described in detail.
Etain is presented as surpassingly beautiful and is said to seem like one who has come from the fairy mounds.
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Heroic Romances of Ireland PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI / THE COURTSHIP OF ETAIN / EGERTON VERSION; lines 1164-1257 confidence: medium
Etain’s beauty is described through many comparisons; no fairer or more lovable maid had been seen, and she seemed to observers like one who came from the fairy mounds.
Etain is described as fairer and more lovable than any maiden seen by men, and she seems to them to be one of those who came from the fairy mounds.
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Heroic Romances of Ireland PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI / THE COURTSHIP OF ETAIN / EGERTON VERSION; lines 1259-1369 confidence: medium
Eochaid desires the maiden, sends a man to her kindred, comes to her, and asks her origin.
Etain is identified as a maiden from the fairy mound; Eochaid desires her, pays her bride-price, and brings her to Tara as his wife.
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Heroic Romances of Ireland PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI / THE COURTSHIP OF ETAIN / EGERTON VERSION; lines 1259-1369 confidence: medium
Eochaid asks the maiden's origin; she answers: "Etain is my name... 'out of the fairy mound' am I."
Etain identifies herself as coming from the fairy mound, says she came under Eochaid's safeguard because of her love for him, and becomes Eochaid's bride after bride-price is paid.
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Heroic Romances of Ireland THE COURTSHIP OF ETAIN / EGERTON VERSION / THE COURTSHIP OF ETAIN / LEABHAR NA H-UIDHRI VERSION; lines 1694-1812 confidence: medium
The man says Etain should meet him instead, claims he was her husband when she was Etain of the Horses, says she left a marriage price of Ireland's chief plains and waters plus gold and silver, and identifies himself as Mider of Bri Leith.
Mider, who claims former marriage to Etain, invites her to leave for his marvellous land and later secures her conditional agreement if Eochaid asks it.
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Heroic Romances of Ireland THE COURTSHIP OF ETAIN / EGERTON VERSION / THE COURTSHIP OF ETAIN / LEABHAR NA H-UIDHRI VERSION; lines 1814-1914 confidence: medium
The steward reports the powerful laboring band to Eochaid. Mider appears, complains of hardship and anger, challenges Eochaid again, sets the stake as whatever the winner demands, and defeats him.
Mider wins a game and demands the right to hold and kiss Etain; the passage states he had already wooed her and had planned the game-debt to obtain her from the master of her house.
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Heroic Romances of Ireland THE COURTSHIP OF ETAIN / INTRODUCTION / PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI; lines 1029-1131 confidence: medium
Angus makes Etain a bower with clear windows and a purple veil, carries it with him, and keeps her nourished and fair with sweet-scented shrubs, blossoms, and precious herbs.
Angus recognizes Etain in butterfly form, makes a bower for her, carries it with him, and sustains her with sweet-scented plants; Fuamnach hears of Etain's love and worship from Angus.
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Heroic Romances of Ireland THE COURTSHIP OF ETAIN / INTRODUCTION / PROLOGUE IN FAIRYLAND / FROM THE LEABHAR NA H-UIDHRI; lines 1029-1131 confidence: medium
The song mentions birds, Da-Arbre's lake drowning the king's coursers, Echaid reigning in Meath and waging wars for Etain, fairy bane, Etain's beauty, a king's love, and Etain resting with the singer's folk.
The song says Echaid shall reign, wage many wars for Etain, bring bane on fairies, and that Etain's form is beauty's test.
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Heroic Romances of Ireland THE PRELUDES TO THE RAID OF CUALGNE / APPENDIX / TAIN BO FRAICH / INTRODUCTION; lines 8689-8790 confidence: medium
The second part tells of Fraech's expedition to the Alps to recover stolen cattle and his wife; the passage reports that the wife was Trebland, a semi-deity like Fraech, according to another cited source.
The passage states that Trebland, Fraech's wife according to a cited source, was a semi-deity like Fraech himself.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER II / CONTENTS III / CHAPTER III / CHAPTER IV; lines 3364-3389 confidence: low
"The points of contact between Maelduin and Bran: ... the wonderland of the amorous queen; ... the island of imitation"
The passage names the wonderland of the amorous queen as one of the points of contact between Maelduin and Bran.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER IV / I70 THE ISLE OF IMITATION / CHAPTER V / CHAPTER VI; lines 6512-6585 confidence: medium
The youth identifies himself as Connla, son of Conn of the Hundred Battles. The maiden says she brought him to the land through true affection, where they continue in chaste contemplation of one another.
Connla says the young woman brought him to the land, and she says she brought him through true affection so they could remain in mutual contemplation.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER VIII / CHAPTER IX / THE DEVELOPMENT OF THE HAPPY OTHERWORLD IN / IRISH LEGEND; lines 7418-7520 confidence: medium
“points of contact with the Oversea type” include “the amorous nature of the dames of Faery” and “a definite connection of the magic land with water.”
The passage identifies amorous dames of Faery and describes Manannan and Clidna as sea-connected and amorous beings.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 8345-8441 confidence: high
Calypso says the gods are jealous and begrudge goddesses who mate openly with mortal men; she cites Dawn with Orion and Demeter with Iasion, whom Zeus slew, and says she loved a mortal man and would have made him free from death and age forever.
Calypso, Dawn, and Demeter are cited as goddesses connected with mortal lovers; Calypso says she would make her mortal beloved free from death and age, and the narrator says this lure also appears in Irish material.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 8345-8441 confidence: medium
The narrator states that immortal women of Hellas and Erin alike desire mortal embraces and offer the same lure, freedom from death or decay; the main difference is said to be stronger Greek patriarchal and marital authority, with Zeus restricting a subordinate goddess while Manannan concedes freedom of choice to his wife.
The passage explicitly states that the immortal women of Hellas and Erin share the same lure of freedom from death or decay, and compares Greek divine regions with Irish sid traditions.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 8546-8645 confidence: high
Cuchulinn is described as a god's son who has enjoyed the love of the goddess Fann in Faery.
Cuchulinn is said to have enjoyed the love of the goddess Fann in Faery.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 9140-9247 confidence: medium
The passage states a "parallelism between Greek and Irish legend" and compares Calypso's isle, Rhadamanthus' realm, Helen and Menelaus with Bran and Connla, and compares Olympus or the sun-god's western halls with Mider's sid and Angus' Brugh.
Calypso's isle and Helen's opening of access to Rhadamanthus' realm are compared with the lands of amorous goddesses in Bran and Connla.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 9351-9441 confidence: high
The passage lists points of agreement between Ireland and Homeric Greece: island Elysium, mountain home of the gods, Elysium reserved for favoured mortals through divine relationship or caprice, amorous goddesses, the mortal not dying, deathlessness, absence of ethical or philosophical ideal, and simple sensuous delights.
The passage says Elysium is reserved to favoured mortals and that relationship to or caprice of a divinity causes the privilege; it also associates island Elysium with amorous goddesses.
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The Voyage of Bran, Son of Febal, to the Land of the Living CHAPTER X / PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD; lines 9351-9441 confidence: high
Christian instruction is described as offering visions of heaven and hell, while Irish material includes Manannan's realm, the sid of Mider or Angus, amorous deities, and a land reachable by a favoured mortal without dying; Christian literature is called insufficient to account for the Irish legends.
The passage mentions Manannan's realm with amorous dames, the sid of Mider or Angus as homes of amorous deities, and island Elysium associated with amorous goddesses.
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The Voyage of Bran, Son of Febal, to the Land of the Living I40 MONGAN / CHAPTER III / ISO OISIN / CHAPTER IV; lines 5188-5270 confidence: low
Maelduin’s group reaches a large grassy island with a fortress and adorned house; seventeen girls prepare a bath; a richly dressed dame arrives; the seafarers bathe, receive food and drink, and pair off at night, with Maelduin sleeping with the queen.
Maelduin sleeps with the island queen, who offers recurring nightly pleasure and is associated with a supernatural land.
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The Voyage of Bran, Son of Febal, to the Land of the Living ISO OISIN / CHAPTER IV / I70 THE ISLE OF IMITATION / CHAPTER V; lines 5503-5612 confidence: medium
In the summary of The Wooing of Etain, Etain was originally Mider's wife, is reborn as a mortal, weds Eochaid Airem, and is won by Mider when he games for her with Eochaid; Mider sings because she is still unwilling to leave.
Mider, one of the Tuatha De, still loves Etain after her mortal rebirth and sings to persuade her to come with him to the wonderland.
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The Voyage of Bran, Son of Febal, to the Land of the Living PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD / CHAPTER XII; lines 10539-10638 confidence: medium
The Apsaras await the fallen warrior, and are said to cry, “Be thou my husband.”
Apsaras await the fallen warrior, reward ascetic merit, and may be used by the gods to tempt an ascetic.
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The Voyage of Bran, Son of Febal, to the Land of the Living PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD / CHAPTER XII; lines 9677-9776 confidence: medium
Helge is lost in a great northern forest, meets twelve red-clad mounted maidens led by Ingeborg, stays three days with her, and receives two chests of gold and silver.
Helge meets Ingeborg in a far northern forest, stays with her, later spends happy days in Gudmund's realm, and is blinded by her before his forced departure.
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The Voyage of Bran, Son of Febal, to the Land of the Living PHCENIX / CHAPTER XI / CLASSIC ACCOUNTS OF THE HAPPY OTHERWORLD / CHAPTER XII; lines 9979-10078 confidence: medium
Irish legend more strongly emphasizes amorous Otherworld inhabitants; Gudmund's daughters in Helge Thoreson or Thorkill are contrasted with Fann and damsels who seek Bran and Connla.
The passage contrasts Irish emphasis on Otherworld princes wooing mortal maidens and ladies desiring mortal lovers with weaker Scandinavian emphasis.
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The Voyage of Bran, Son of Febal, to the Land of the Living THE CONCEPTION OF THE HAPPY OTHERWORLD IN BRAN'S / VOYAGE / I40 MONGAN / CHAPTER III; lines 4469-4575 confidence: medium
The damsel says she loves Connla, invites him to the Plain of Delight where King Boadag dwells, and promises him a yellow crown and unwithering youth and beauty until the dreadful Judgment.
The damsel says she loves Connla, invites him away, leaves him a sustaining object, and carries him off in her ship.
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The Voyage of Bran, Son of Febal, to the Land of the Living THE CONCEPTION OF THE HAPPY OTHERWORLD IN BRAN'S / VOYAGE / I40 MONGAN / CHAPTER III; lines 4577-4667 confidence: medium
The passage says the love motive emphasized in one tale is implied in the other because Bran's ultimate destination is the Isle of Fair Women, whose queen may be the summoning damsel.
Otherworld inhabitants summon mortals they choose; the female messenger or queen is connected with a love motive and summoning damsel.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4669-4781 confidence: high
"The hero is caught away to the fairy land of the living by the loving entreaty of Niam, daughter of its king"
Oisin is taken by Niam, daughter of the fairy king, to the Land of Youth or Land of the Living.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4783-4927 confidence: high
A stranger sings verses promising healing and strength to Cuchulinn if he accepts the invitation of the daughters of Aed Abrat; Fann is named as one who would rejoice to be espoused to him; the stranger departs mysteriously.
Fann desires Cuchulinn, Labraid promises Fann as wife if Cuchulinn fights his enemies, and Cuchulinn later remains a month with Fann.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4783-4927 confidence: high
Cuchulinn goes with Laeg, overthrows Labraid’s enemies, remains a month with Fann, and makes an assignation to meet her at Ibar-Cinn-Trachta.
Emer comes armed with maidens to the meeting, reproaches Cuchulinn, and the mortal wife and fairy queen contend over who should give him up; Fann yields to Emer.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4783-4927 confidence: medium
The woman in green identifies herself as Liban, wife of Labraid; she says Fann, abandoned by Manannan Mac Lir, loves Cuchulinn, and that Labraid offers Fann as wife if Cuchulinn fights his enemies; their land is the Plain of Delight.
Manannan, identified earlier as Fann’s husband, comes from the east to seek Fann, and only Fann perceives him.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4929-5041 confidence: high
The narrator lists agreements among Bran, Connla, and Cuchulinn’s Sick Bed: a hero summoned by a loving Faery dame, a land over water, magic inexhaustible food, optional invisibility of inhabitants; Bran and Sick Bed also share Manannan and trees with sweet singing birds.
The passage’s comparative summary says the hero is summoned by one of the dames of Faery who is filled with love for him.
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The Voyage of Bran, Son of Febal, to the Land of the Living VOYAGE / I40 MONGAN / CHAPTER III / ISO OISIN; lines 4929-5041 confidence: high
Cuchulinn leaps three high leaps and fasts in the mountains; Druids give a drink of forgetfulness to Cuchulinn and Emer; Manannan shakes his cloak between Cuchulinn and Fann so they never meet again.
Cuchulinn and Emer receive a drink of forgetfulness, and Manannan shakes his cloak between Cuchulinn and Fann so they never meet again.
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norse
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Corpus Poeticum Boreale, Volume 1 APPENDIX. / MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES.; lines 8944-9072 confidence: medium
Menglad asks for a sure token of kindred and name to know whether she is the stranger’s fated wife; Swipday gives his name, names Sunbright as father, and says Fate’s word cannot be withstood.
Menglad asks whether she is the fated wife, Swipday identifies himself, and Menglad welcomes him as the love for whom she has waited and with whom she will live.
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Corpus Poeticum Boreale, Volume 1 APPENDIX. / MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES.; lines 9074-9197 confidence: high
Frey says the Wolf lies in the mouth of the river until the world falls in ruins and says Loki will next be bound; Loki says Frey bought Gymi’s daughter with gold, gave his sword for her, and will lack a weapon when Muspell’s sons ride over Murkwood.
Loki says Frey bought Gymi’s daughter with gold and gave his sword for her, leaving him without a weapon when Muspell’s sons ride over Murkwood.
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Corpus Poeticum Boreale, Volume 1 EARLIEST WESTERN POEMS. / APPENDIX. / MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD.; lines 8709-8848 confidence: medium
Young Swipday is compelled by a cruel stepmother to ride into Giantland and win the giant-guarded maiden of an enchanted castle.
The synopsis describes Swipday’s errand as winning the giant-guarded maiden of an enchanted castle; after the charm is broken, Menglad is set free and welcomes her lover.
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Corpus Poeticum Boreale, Volume 1 EARLIEST WESTERN POEMS. / APPENDIX. / MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD.; lines 8850-8942 confidence: medium
The giant says no man may sleep in Menglad’s sweet arms except Swipday alone, and that the sunbright bride was destined to him for wife.
The warder states that only Swipday may sleep in Menglad’s arms and that the sunbright bride was destined to him for wife.
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Corpus Poeticum Boreale, Volume 1 FRAGMENTS OF LOST MYTHOLOGICAL POEMS. / FRAGMENTS OF LOST POEMS. 124 / EARLY WESTERN EPICS. / THE HELGI TRILOGY,; lines 9796-9917 confidence: high
“The lot of the three parts is all built on the same lines”; a young hero wins a Walkyrie’s love and protection, marries her, dies, she joins him in the grave, and both are born again under different names.
The passage explicitly summarizes all three parts as a recurring cycle in which a young hero wins a Walkyrie’s love and protection, marries her, dies, is joined in the grave, and the pair are born again under different names.
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Corpus Poeticum Boreale, Volume 1 FRAGMENTS OF LOST MYTHOLOGICAL POEMS. / FRAGMENTS OF LOST POEMS. 124 / EARLY WESTERN EPICS. / THE HELGI TRILOGY,; lines 9796-9917 confidence: medium
Helgi meets Kara, a Walkyrie and Halfdan’s daughter, who says she has watched over him invisibly; the poem breaks off, and the editors infer a later flyting, vengeance battle, and final tragedy.
Kara tells Helgi that she has long watched over him while invisible.
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Corpus Poeticum Boreale, Volume 1 FRAGMENTS OF LOST POEMS. 124 / EARLY WESTERN EPICS. / THE HELGI TRILOGY, / HELGI AND SIGRUN.; lines 10045-10161 confidence: medium
At Wolf-Rock “the yellow blades crossed”; Helgi fights foremost, helmed fairies come down from heaven, and Sigrun, “winged war-fairy,” hails his victory and says the red rings and mighty maiden are his by right.
Helmed fairies watch over Helgi and descend from heaven during battle; Sigrun, described as a winged war-fairy, hails Helgi and declares the victory and its rewards.
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Corpus Poeticum Boreale, Volume 1 FRAGMENTS OF LOST POEMS. 124 / EARLY WESTERN EPICS. / THE HELGI TRILOGY, / HELGI AND SIGRUN.; lines 10290-10367 confidence: medium
After his father has been slain, Helgi is silent and nameless; he meets the Walkyria Swava, a king’s daughter, in the wood. She admonishes him about silence and revenge, and Helgi asks what gift comes with the name, saying he will accept no gift unless he has Swava herself. She tells him where to find a magic sword for fame and avenging his father.
Helgi asks Swava to prepare the bed for Hedin and love him, while Swava answers that she vowed not to take another after Helgi’s death; Swava is identified earlier as a Walkyria.
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Corpus Poeticum Boreale, Volume 1 MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES. / THE LAY OF SKIRNI.; lines 9212-9349 confidence: high
The introduction summarizes Frey's love-melancholy for a white-armed giant-maiden, Skirni's mission to woo Gerda, her consent through caressing and force, the price of Frey's charmed sword, and Frey's weaponlessness at the Last Battle.
Frey, a divine figure, loves Gerda, described as a beautiful giant-maiden, and sends Skirni to win her for him.
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Corpus Poeticum Boreale, Volume 1 MNEMONIC VERSES RELATING TO MYTHOLOGY. / THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES. / THE LAY OF SKIRNI.; lines 9351-9401 confidence: medium
Gerda brings a foaming cup of old mead, says she had not expected to love Frey, and answers Skirni that after three nights she will grant love to Niord’s son at Barra, a peaceful copse.
Gerda says she had not thought she would love Frey and then appoints a meeting at Barra where she will grant love to Niord’s son.
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Corpus Poeticum Boreale, Volume 1 OLDEST NORTHERN POETRY. / SONG OF SAWS. / THE LESSON OF LODDFAEFNI. / FRAGMENT OF A LOST LAY.; lines 6683-6803 confidence: medium
The speaker says he sought the old Giant, spoke profitably in Suptung’s hall, received precious mead from Gundfled in a golden chair, repaid her true heart badly, and let Rati’s auger gnaw through rock while giant causeways lay above and below.
Gundfled gives the speaker the precious mead, helps him return from Giant-town, and is later said to weep after Wodin’s betrayal.
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Corpus Poeticum Boreale, Volume 1 THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES. / THE LAY OF SKIRNI. / VIII.; lines 9403-9520 confidence: medium
Skirni/Séirni names Barra as a peaceful copse where Gerda will grant love to Niord's son after three nights; Frey laments that one and two nights are long and asks how he can endure three.
Gerda is to grant love to Niord's son after three nights, and Frey laments the delay as a bridal wait.
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Corpus Poeticum Boreale, Volume 1 THE LAY OF SWIPDAY AND MENGLAD. / ARISTOPHANES. / THE LAY OF SKIRNI. / VIII.; lines 9522-9569 confidence: low
Hoarbeard says he was in the East with a linen-white, goldbright lady and held a secret love-meeting.
Hoarbeard boasts of a secret love-meeting with a linen-white, goldbright lady.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER III: FRIGGA / CHAPTER IV: THOR / CHAPTER V: TYR / CHAPTER VI: BRAGI; lines 3819-3966 confidence: medium
Odin reaches the mountain interior, resumes godlike form in the stalactite-hung cave, woos Gunlod, spends three days with her, and is allowed a sip from each hidden vessel.
Odin intends to win Gunlod’s love to induce her to grant access to the vessels, and after his wooing she allows him to drink from each.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER III: FRIGGA / CHAPTER IV: THOR / CHAPTER V: TYR / CHAPTER VI: BRAGI; lines 3819-3966 confidence: medium
Inside the mountain cave, Odin appears before Gunlod, woos her, spends three days with her, receives permission to sip from each vessel, and drains all three vessels of mead.
Odin woos Gunlod and obtains permission to drink from the vessels entrusted to her.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER IV: THOR / CHAPTER V: TYR / CHAPTER VI: BRAGI / CHAPTER VII: IDUN; lines 4135-4274 confidence: medium
Odin sends Bragi, Heimdall, and another god to seek Idun, gives them a white wolfskin to wrap her, and orders them to rouse her; Idun remains silent and tearful, while Bragi stays beside her and his harp is mute.
Bragi, Idun's husband, remains beside her in Hel's realm and loses the heart for his usual songs.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER IV: THOR / CHAPTER V: TYR / CHAPTER VI: BRAGI / CHAPTER VII: IDUN; lines 4135-4274 confidence: medium
Idun lets the gods wrap her in the wolfskin but refuses to speak or move; Bragi sees her tears, tells the others to return, stays with her in Hel's realm, and his harp remains mute.
Bragi refuses to return to Asgard and stays beside Idun in Hel's realm, with his harp silent.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER V: TYR / CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY; lines 4487-4607 confidence: medium
Frey ascends Odin's throne Hlidskialf, sees over the earth toward the frozen North, and watches a beautiful maiden enter the house of the frost giant Gymir; her raised hand and beauty illuminate sea and sky.
Frey ascends Odin's throne Hlidskialf and sees Gerda from afar, after which he longs to make her his wife.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER V: TYR / CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY; lines 4487-4607 confidence: medium
The maiden is named Gerda and identified as a personification of the flashing Northern lights; Frey returns to Alf-heim longing to make her his wife, becomes melancholy, and Niörd sends Skirnir to find the cause.
Frey loves Gerda but fears rejection because she is the daughter of giant parents and related to Thiassi; Skirnir offers to woo her in Frey's name.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER V: TYR / CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY; lines 4487-4607 confidence: high
Frey ascends Odin's throne Hlidskialf, looks over the earth, and sees a beautiful maiden enter Gymir's house in the frozen North; her beauty illuminates sea and sky.
Frey sees Gerda, whose beauty illuminates sea and sky, and afterwards longs to marry her.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 4986-5124 confidence: medium
Freya is introduced as the fair Northern goddess of beauty and love, sister of Frey, daughter of Niörd and Nerthus or Skadi, associated with Vana-heim, and called Vanadis or Vanabride; the passage also notes regional identification with Frigga in Germany and separation elsewhere.
Freya is explicitly goddess of love; lovers invoke her and love-songs are composed in her honour.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 4986-5124 confidence: high
Odur leaves Freya and wanders far away; Freya weeps, and her tears turn to gold in stones and amber in the sea.
Odur leaves home and wanders; Freya searches through many lands under many names and finally finds him, after which they return home together.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 4986-5124 confidence: high
Odur, restless and wearying of Freya's company, suddenly leaves home and wanders far into the wide world.
Odur leaves Freya, she mourns and searches through many lands, then finds him and returns home with him.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 4986-5124 confidence: medium
Freya is believed to hear lovers' prayers, and love-songs are composed and sung in her honour.
Freya is described as lending a favourable ear to lovers' prayers and receiving love-songs composed in her honour.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 5126-5265 confidence: medium
Freya owns falcon plumes or a falcon garb that enables birdlike flight; Loki borrows it twice, and Freya uses it in search of the missing Odur.
Freya uses the falcon garment when seeking the missing Odur, identified elsewhere in the passage among her associated husbands.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 5126-5265 confidence: medium
Freya is desired by gods, giants, and dwarfs; she refuses ugly giants including Thrym, while some mythologists say that as earth-personification she wedded Odin, Frey, Odur, and others.
Freya is desired by gods, giants, and dwarfs, refuses Thrym, and is said in some interpretations to have wedded Odin, Frey, Odur, and others.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER VI: BRAGI / CHAPTER VII: IDUN / CHAPTER IX: FREY / CHAPTER X: FREYA; lines 5126-5265 confidence: medium
Freya owns falcon plumes or a falcon garb that allows bird-like flight; Loki borrows it twice, and Freya uses it while searching for the missing Odur.
Freya uses the falcon garment when she goes in search of the missing Odur, described as dearly loved.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER X: FREYA / CHAPTER XI: ULLER / CHAPTER XII: FORSETI / CHAPTER XIII: HEIMDALL; lines 5479-5625 confidence: medium
Heimdall sees Loki, who entered Freya’s palace as a fly, approach Freya’s bedside and try to steal Brisinga-men, her shining golden necklace and emblem of earth’s fruitfulness.
Loki enters Freya’s palace as a fly and attempts to steal Brisinga-men, described as Freya’s shining golden necklace and emblem of earth’s fruitfulness.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XIII: HEIMDALL / CHAPTER XIV: HERMOD / CHAPTER XV: VIDAR / CHAPTER XVI: VALI; lines 6022-6149 confidence: high
A middle-aged stranger in a wide cloak and broad-brimmed hat conceals that he has one eye, asks Billing’s trouble, and offers to command the Ruthene army.
Odin approaches Rinda in multiple identities and forms while seeking to make her his wife, and Rinda repeatedly refuses him.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER / CHAPTER XXII: LOKI; lines 8288-8420 confidence: medium
Loki induces Hodur to throw the fatal mistletoe at Balder, refuses to shed a tear while disguised as Thok, and is sentenced by the gods to perpetual banishment from Asgard.
Balder’s death and absence generate grief among the gods, and Ægir’s banquet is held to relieve their mourning.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER / CHAPTER XXII: LOKI; lines 8422-8532 confidence: medium
Skadi places a venom-dripping serpent over Loki; Sigyn catches the drops in a cup except when emptying it, and Loki's resulting writhing is said to cause earthquakes.
Skadi sets a serpent over Loki, and Sigyn, his faithful wife, catches the venom to reduce his torment.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XV: VIDAR / CHAPTER XVI: VALI / CHAPTER XVII: THE NORNS / CHAPTER XVIII: THE VALKYRS; lines 6539-6657 confidence: high
Egil and Slagfinn search north for their lost wives; Völund remains home with Alvit's ring, forges seven hundred duplicates, and finds one missing.
Alvit is Völund's absent Valkyr wife, and the passage explicitly frames the material within broader tales of swan maidens or Valkyrs who consorted with mortals, naming Brunhild as a leading example.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XV: VIDAR / CHAPTER XVI: VALI / CHAPTER XVII: THE NORNS / CHAPTER XVIII: THE VALKYRS; lines 6539-6657 confidence: medium
Völund goes to Alf-heim, where the passage says he finds his beloved wife and lives happily with her until the twilight of the gods.
After his escape, Völund goes to Alf-heim, finds his beloved wife, and lives happily with her until the twilight of the gods.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XV: VIDAR / CHAPTER XVI: VALI / CHAPTER XVII: THE NORNS / CHAPTER XVIII: THE VALKYRS; lines 6539-6657 confidence: high
Völund remains at home, contemplates Alvit's ring, makes seven hundred identical rings, and interprets the loss of one ring as a sign that his wife has returned.
Alvit is Völund's Valkyr wife, and the passage explicitly notes other swan maiden or Valkyr tales involving mortal consorts.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7325-7472 confidence: high
Odin and Frigga have twin sons, Hodur and Balder; Hodur is blind and associated with darkness, while Balder is radiant, associated with innocence and light, and loved by gods and men.
Balder is the beloved son of Odin and Frigga, loved by gods, men, and creation, while his parents respond to signs that his life is threatened.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7325-7472 confidence: high
Odin and Frigga have twin sons: Hodur, blind and dark, and Balder, radiant, pure, light-bearing, and loved by gods and men.
Balder is described as a radiant god of light loved by gods and men.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7475-7592 confidence: high
At Idavold the gods play with golden disks, then throw weapons, stones, and other missiles at Balder because the objects have sworn not to injure him; the failed blows make the gods laugh.
Because Balder cannot be harmed, the gods turn attacks on him into a game; he remains smiling and unharmed, and Frigga says all things loved the light he emblematizes.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7475-7592 confidence: high
“Hodur will hither / His glorious brother send; / He of Balder will / The slayer be.”
A prophetess reveals in advance that Balder, Odin’s beloved son, will be slain by Hodur.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7594-7696 confidence: high
Loki returns with a shaft, approaches blind Hodur at Idavold, questions him, gives him the mistletoe shaft, guides him toward the target, and Hodur throws; Balder falls pierced by mistletoe.
Balder is described as beloved and beautiful; the gods mourn, fail to revive him, and Frigga says the earth cannot exist happily without him.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7594-7696 confidence: medium
Nanna dies as she bends over Balder; the gods place her beside her husband, slay his horse and hounds, and twine the pyre with thorns called emblems of sleep.
Nanna's heart breaks as she bends over Balder, and she is laid beside her husband to accompany him in death.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7824-7975 confidence: high
Balder says he must stay until the last day and asks that Nanna be taken back; Nanna clings to him and vows to remain with him forever in Nifl-heim.
Nanna refuses to return from Nifl-heim and chooses to stay with Balder forever.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7824-7975 confidence: medium
Balder says he must remain in the abode of shades until the last day and asks that Nanna be taken back; Nanna refuses and vows to stay with him in Nifl-heim.
Nanna refuses to leave Balder and vows to remain with him in Nifl-heim.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XVIII: THE VALKYRS / CHAPTER XIX: HEL / L. E. R. / CHAPTER XXI: BALDER; lines 7978-8048 confidence: high
The tears shed by all things for Balder are said to symbolize spring thaw; trees, twigs, and stones drip with moisture; Thok, identified as coal, alone shows no tenderness because she is deep in the dark earth.
Balder is called the beloved god, and all things are described as weeping to bring him back.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIII: THE GIANTS / CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA; lines 10094-10213 confidence: medium
Bird-song tells of a warrior maiden asleep on a mountain, surrounded by flames; the embedded lay says Ygg set a sleep-thorn in the maid's robe.
The maiden sleeps behind flames, awakens when Sigurd removes her armor, and she and Sigurd love each other at first sight; she is later identified as Brunhild, a Valkyr.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIII: THE GIANTS / CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA; lines 10094-10213 confidence: medium
Sigurd removes the maiden's armor; she awakens, sees the rising sun, turns to Sigurd, and the two love each other at first sight.
The awakened maiden is identified as Brunhild, a Valkyrie according to some authorities, and she and Sigurd love one another at first sight.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIII: THE GIANTS / CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA; lines 9644-9745 confidence: medium
Gudrun marries Helgi, mourns him, curses his murderer, and enters the mound at night after hearing Helgi calls for her from the tomb.
Gudrun hears that her slain husband calls for her from the tomb, enters the mound at night, and learns that her grief affects his bleeding wounds.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIII: THE GIANTS / CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA; lines 9644-9745 confidence: medium
Gudrun, now Helgi’s wife, weeps, curses Dag, hears that Helgi calls from the tomb, and enters the mound at night to ask why he calls and why his wounds bleed.
Helgi calls Gudrun from the tomb; she enters the mound at night and learns that her tears keep his wounds bleeding.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF; lines 10939-11058 confidence: medium
Thorsten encounters Jokul, Njorfe's eldest son, who has seized Sogn, killed the king, banished Belé, and transformed Ingeborg into the likeness of an old witch.
Ingeborg is magically changed into the semblance of an old witch, saves Thorsten, is later restored to beauty, and marries him.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXIV: THE DWARFS / CHAPTER XXV: THE ELVES / CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF; lines 11200-11340 confidence: medium
In verse, Frithiof describes Balder as a gentle god and lover, cites Balder's love for Nanna, and urges that two hearts vowing mutual faith before Balder are a pleasing offering.
Frithiof compares his love for Ingeborg to Balder's love for Nanna and invokes that divine relation to justify their vow.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF / CHAPTER XXVIII: THE TWILIGHT OF THE GODS / CHAPTER XXIX: GREEK AND NORTHERN MYTHOLOGIES; lines 12761-12872 confidence: high
Idun falls from Yggdrasil into Nifl-heim; Bragi follows her into the dark realm of death, and the wolf-skin around Idun is read as snow protecting roots.
The passage says Bragi follows Idun into the dark realm of death, like Orpheus and Eurydice.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF / CHAPTER XXVIII: THE TWILIGHT OF THE GODS / CHAPTER XXIX: GREEK AND NORTHERN MYTHOLOGIES; lines 12761-12872 confidence: medium
Gerda is compared with Venus and Atalanta; Skirnir offers golden apples; Freya is compared with Venus and Minerva.
Freya is described as a goddess of youth, love, and beauty and daughter of the sea-god Niörd.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF / CHAPTER XXVIII: THE TWILIGHT OF THE GODS / CHAPTER XXIX: GREEK AND NORTHERN MYTHOLOGIES; lines 12874-12978 confidence: medium
Freya/Odur are compared with Venus/Adonis: departure, transformed tears, return and joy, animal-drawn cars, and refusal or desertion of unwanted husbands.
Freya loses and recovers Odur, with tears and renewed joy paralleling Venus and Adonis.
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Myths of the Norsemen: From the Eddas and Sagas CHAPTER XXVI: THE SIGURD SAGA / CHAPTER XXVII: THE STORY OF FRITHIOF / CHAPTER XXVIII: THE TWILIGHT OF THE GODS / CHAPTER XXIX: GREEK AND NORTHERN MYTHOLOGIES; lines 13084-13166 confidence: medium
Brunhild resembles Minerva in martial traits, appearance, and wisdom; her anger when Sigurd forgets her for Gudrun is compared with OEnone's wrath, and she seeks Sigurd's death.
Brunhild's anger after Sigurd forgets her leads her to seek his death, and she later shares his funeral pyre.
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Myths of the Norsemen: From the Eddas and Sagas INTRODUCTION / CHAPTER I: THE BEGINNING / CHAPTER II: ODIN / CHAPTER III: FRIGGA; lines 2238-2359 confidence: medium
A medieval tradition says Holda dwelt in a Hörselberg cave as Frau Venus, an enchantress who lured mortals into her realm and detained them; Tannhäuser was her most famous victim.
Holda as Frau Venus is described as luring mortals into her realm and detaining them with sensual pleasures; Tannhäuser is named as her famous victim.
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Myths of the Norsemen: From the Eddas and Sagas INTRODUCTION / CHAPTER I: THE BEGINNING / CHAPTER II: ODIN / CHAPTER III: FRIGGA; lines 2238-2359 confidence: medium
A medieval tradition says Holda dwelt in the Hörselberg as Frau Venus, luring and detaining mortals; Tannhäuser lives under her spell, then escapes to Rome for absolution.
The Hörselberg tradition describes Frau Venus luring mortals into her realm and detaining them; Tannhäuser is named as her most famous victim.
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The Poetic Edda GROAS SPELL / II. FJOLSVINNSMOL / THE LAY OF FJOLSVITH / NOTES; lines 9916-10036 confidence: medium
Svipdag’s stepmother is responsible for his search for Mengloth; Mengloth means Necklace-Glad, a name that has suggested identification with Frigg or Freyja and the Brisings necklace.
Svipdag searches for Mengloth, who may be associated with a goddess by name, and reaches a flame-surrounded house guarded by a giant warder.
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The Poetic Edda HELGAKVITHA HJORVARTHSSONAR / THE LAY OF HELGI THE SON OF HJORVARTH / INTRODUCTORY NOTE / OF HJORVARTH AND SIGRLIN; lines 10849-11028 confidence: medium
Hjorvarth and Sigrlin have a mighty, noble-statured son who is silent and has no lasting name; seated on a hill, he sees nine Valkyries riding, one fairest of all.
The nameless youth is addressed as Helgi by the Valkyrie, asks for a gift with the name, expresses desire for her, receives knowledge of the sword, and is later said to be shielded by Svava in battle.
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The Poetic Edda HELGAKVITHA HJORVARTHSSONAR / THE LAY OF HELGI THE SON OF HJORVARTH / INTRODUCTORY NOTE / OF HJORVARTH AND SIGRLIN; lines 11030-11249 confidence: medium
Hrimgerth says a gold-decked maid came from sea to land, bore magic, kept the fleet fast, and prevented her from killing the monarch's men.
A gold-decked or helmed maiden and thrice nine riders ward the ships; Svava, Helgi's beloved, is later described as still a Valkyrie.
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The Poetic Edda HELGAKVITHA HJORVARTHSSONAR / THE LAY OF HELGI THE SON OF HJORVARTH / INTRODUCTORY NOTE / OF HJORVARTH AND SIGRLIN; lines 11030-11249 confidence: medium
A great battle occurs and Helgi receives a mortal wound; he sends Sigar to tell Svava that if she would find her lover alive, she should come quickly before his life leaves him.
After receiving a mortal wound, Helgi sends Sigar to summon Svava quickly so she may find him alive before life leaves him.
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The Poetic Edda INTRODUCTORY NOTE / GRIPISSPO / GRIPIRS PROPHECY / INTRODUCTORY NOTE; lines 13227-13310 confidence: medium
The passage says that from early days Sigurth/Sifrit was a great traditional hero among the Franks and lists probable early features: strength and valor, winning a great treasure, wooing a more or less supernatural bride, and death at the hands of kinsmen.
The passage lists wooing a more or less supernatural bride among probable early features of the Sigurth legend.
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The Poetic Edda INTRODUCTORY NOTE / GRIPISSPO / GRIPIRS PROPHECY / INTRODUCTORY NOTE; lines 13312-13474 confidence: medium
The note says Brynhild was made a Valkyrie sleeping on a flame-girt rock, while also remaining in part Buthli's human daughter whom Sigurth woos for Gunnar; it compares this confusion to Svava and Sigrun in the Helgi tradition.
The note says Brynhild is made a Valkyrie sleeping on a flame-girt rock and that Sigurth woos her for Gunnar.
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The Poetic Edda NOTES / HELGAKVITHA HJORVARTHSSONAR / THE LAY OF HELGI THE SON OF HJORVARTH / INTRODUCTORY NOTE; lines 10704-10799 confidence: medium
The note says the Helgi-Sigrun story resembles the Sigurth-Brynhild story, particularly because the prose annotator insists Sigrun was a Valkyrie; it says the cause of the resemblance cannot be determined.
The note ties Helgi to Sigrun and says the annotator insists Sigrun was a Valkyrie; it also reports a Helgi-Valkyrie dialogue in the Hjorvarthson lay, identified by prose as Svava.
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The Poetic Edda NOTES / HELGAKVITHA HUNDINGSBANA II / THE SECOND LAY OF HELGI HUNDINGSBANE / INTRODUCTORY NOTE; lines 12207-12339 confidence: medium
The note summarizes Section I as Helgi's disguised adventure in Hunding's home; Sections II-III as Helgi-Sigrun dialogues; Section VI as Dag telling Sigrun of Helgi's death, her curse and lament; and Section VIII as the return of dead Helgi and Sigrun's visit to him in the burial hill.
Sigrun is introduced as a Valkyrie who rides air and water, is Svava reborn, and is later described as Helgi's wife who laments him and visits him after death.
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The Poetic Edda NOTES / HELGAKVITHA HUNDINGSBANA II / THE SECOND LAY OF HELGI HUNDINGSBANE / INTRODUCTORY NOTE; lines 12342-12535 confidence: medium
Granmar is introduced with sons Hothbrodd, Gothmund, and Starkath; Hothbrodd wins promise of Sigrun as wife, and Sigrun rides with Valkyries over air and sea to seek Helgi.
Sigrun rides with Valkyries over air and sea to seek Helgi and is recognized among nine Valkyries whose appearance accompanies the abating of the storm.
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The Poetic Edda NOTES / SKIRNISMOL / THE BALLAD OF SKIRNIR / INTRODUCTORY NOTE; lines 4444-4655 confidence: high
Freyr, son of Njorth, sits in Hlithskjolf, looks over all worlds, looks into Jotunheim, sees a fair maiden going from her father's house to her bower, and becomes love-sick.
Freyr sees the fair maiden from Hlithskjolf, becomes love-sick, and later describes her as dearer to him than any maiden had been to a man.
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The Poetic Edda NOTES / SKIRNISMOL / THE BALLAD OF SKIRNIR / INTRODUCTORY NOTE; lines 4444-4655 confidence: medium
Freyr tells Skirnir of his grief, says he saw a dear maiden from Gymir's house whose glittering arms shone over sea and sky, and says no god or elf will grant that they be together.
Freyr seeks union with Gerth, and Gerth explicitly says that she and Freyr shall not find one dwelling together while both live.
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The Poetic Edda NOTES / SKIRNISMOL / THE BALLAD OF SKIRNIR / INTRODUCTORY NOTE; lines 4658-4819 confidence: medium
Gerth welcomes Skirnir with a frost-cup filled with mead, says she did not expect to love one of the Wanes, and appoints Barri as the place where nine nights hence she will grant delight to the son of Njorth.
Gerth appoints a meeting with the son of Njorth, and Freyr waits for Skirnir's report with desire.
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The Poetic Edda SIGURTHARKVITHA EN SKAMMA / THE SHORT LAY OF SIGURTH / INTRODUCTORY NOTE / NOTES; lines 16921-17039 confidence: low
The poet seems to accept a version where Gunnar and Sigurth besiege Atli and are bought off by the gift of Atli's sister Brynhild to Gunnar as wife, her consent being won by Atli representing Gunnar as Sigurth.
Brynhild is described as a Valkyrie and as a bride tricked into marrying Gunnar while believing she was marrying Sigurth.
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The Poetic Edda SKIRNISMOL / THE BALLAD OF SKIRNIR / INTRODUCTORY NOTE / NOTES; lines 4822-4942 confidence: medium
Gymir is identified as a mountain-giant, husband of Aurbotha, and father of Gerth, fairest among women.
The notes describe Gerth as fairest among women and include a reconstructed command for Skirnir to bring the maid home to Freyr.
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The Story of the Volsungs (Volsunga Saga); with Excerpts from the Poetic Edda CHAPTER XXIII. Sigurd comes to Hlymdale. / CHAPTER XXIV. Sigurd sees Brynhild at Hlymdale. / CHAPTER XXVI. Sigurd comes to the Giukings and is wedded to Gudrun. / CHAPTER XXVII. The Wooing of Brynhild.; lines 4102-4289 confidence: medium
Gullrond says she has known no love like Gudrun's and Sigurd's and that Gudrun found no joy except beside Sigurd.
Gullrond says no love was like Gudrun and Sigurd's, and Gudrun compares Sigurd to a king leek, a bright stone, and a pearl.
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The Younger Edda; Also called Snorre's Edda, or The Prose Edda CHAPTER XIII. / CHAPTER XIV. / CHAPTER XV. / THE DEATH OF BALDER.; lines 2962-3005 confidence: high
Hermod enters the hall, sees Balder on the foremost seat, stays overnight, and asks Hel if Balder may return; Hel says all living and dead things must weep for him, or he remains with Hel.
Hel frames the test as whether Balder is as beloved as said, and the messengers obtain weeping from men, beasts, earth, stones, trees, and metals.
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The Younger Edda; Also called Snorre's Edda, or The Prose Edda LOKE AND HIS OFFSPRING. / CHAPTER X. / THE GODDESSES (ASYNJES). / CHAPTER XI.; lines 2252-2301 confidence: high
Frey enters Hlidskjalf, looks over all worlds, sees a northern house and a woman whose raised hands make sky, sea, and world bright; his grief is called punishment for sitting audaciously in the holy seat.
Frey sees a beautiful woman whose gesture illuminates the world, then becomes grief-stricken and says he cannot live unless he gets her.
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celtic
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Celtic Fairy Tales JOSEPH JACOBS. / CONTENTS / NOTES AND REFERENCES / CONNLA AND THE FAIRY MAIDEN; lines 260-353 confidence: medium
The maiden says she loves Connla and calls him to Moy Mell, the Plain of Pleasure, where Boadag is king and there is no complaint or sorrow; she promises him a fairy crown and unfading youth.
The Fairy Maiden says she loves Connla, calls him away from mortal kin to Moy Mell, and finally departs with him.
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Cuchulain of Muirthemne CONCHUBAR'S MESSAGE 137 / DEIRDRE'S DEATH 139 / CATHEAD'S CURSE 141 / THE DREAM OF ANGUS OG; lines 6025-6096 confidence: medium
Angus, son of the Dagda, sees a very beautiful young girl near his bed in sleep; when he reaches for her hand she vanishes, leaving no trace in the morning.
Angus repeatedly sees a beautiful woman in sleep, cannot touch or speak with her, and wastes away after she stops coming.
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Cuchulain of Muirthemne DEATH OF THE BROWN BULL 275 / THE ONLY JEALOUSY OF EMER / THETWOBIRDS 277 / ANGUS 279; lines 11648-11734 confidence: high
The visitor says Cuchulain's dream-vision could be his, speaks of Liban with Labraid and Fand, and says he will send Liban to cure Cuchulain's sickness.
Liban says Fand's love has fallen on Cuchulain after Manannan left her, and Angus says Cuchulain's coming would bring joy to Fand.
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Cuchulain of Muirthemne DEIRDRE'S DEATH 139 / CATHEAD'S CURSE 141 / THE DREAM OF ANGUS OG / CAER 145; lines 6099-6184 confidence: high
Og, son of the Dagda, is wasting away for two years with love of a woman seen in dreams; the Dagda orders Bodb to search Ireland for a girl of the same form and appearance.
Angus becomes sick from love for a woman seen in dreams; his father orders a search through Ireland, and Bodb finds and identifies the woman.
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Cuchulain of Muirthemne FAND 285 / FAND WELCOMES CUCHULAIN 287 / EMER'S ANGER 289 / FAND'S COMPLAINT 291; lines 12200-12294 confidence: medium
Manannan is told that Fand, daughter of Aedh Abrat, is fighting alone against the women of Ulster and that Cuchulain is putting her away; he comes from the east seeking her, is seen only by Fand, and she becomes afraid and troubled.
Manannan, Fand's husband, comes in search of her; he is described as son of the sea and as a wave-riding figure unseen by earthly people, and Fand goes to him.
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Cuchulain of Muirthemne FERGUS'S VISIT 203 / ETARCOMAL'S FOLLY 205 / A BLOOD-BOND 209 / THE MORRIGU 211; lines 8863-8941 confidence: medium
The woman identifies herself as daughter of King Buan, says she came to offer Cuchulain love because of his deeds, and says she has protected him and will protect him; Cuchulain rejects reliance on a woman's protection.
The red-clad woman offers Cuchulain love, help, and protection; after he refuses, she threatens to turn against him.
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Cuchulain of Muirthemne LABRAID'S COUNTRY 283 / FAND 285 / FAND WELCOMES CUCHULAIN 287 / EMER'S ANGER 289; lines 12109-12197 confidence: medium
Cuchulain stays a month with Fand, bids farewell, and they agree to meet at Ibar Cinn Tracta, the yew at the head of Baile's strand.
Cuchulain stays a month with Fand, leaves her, arranges a meeting at a named yew, and later praises her as a woman from beyond the waves of the great sea.
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Gods and Fighting Men BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG / CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG; lines 3157-3247 confidence: medium
In Maeve's time, Angus sets his love on Caer Ormaith of Connacht and brings her away to Brugh na Boinn.
Angus sets his love on Caer Ormaith and brings her away to Brugh na Boinn.
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Gods and Fighting Men BOOK THREE: THE BATTLE OF THE WHITE STRAND. / CHAPTER I. THE ENEMIES OF IRELAND / CHAPTER II. CAEL AND CREDHE / CHAPTER III. CONN CRITHER; lines 7237-7297 confidence: medium
Conn arms himself and runs toward the strand; he sees three women in battle clothes, cannot overtake them, prepares to cast a spear, and is told they are three sisters from Tir nan Og who love him and came to help.
Three sisters from Tir nan Og say they all love Conn and have come to help him with magical aid.
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Gods and Fighting Men CHAPTER I. THE LANDING / CHAPTER II. THE BATTLE OF TAILLTIN / BOOK FOUR: THE EVER-LIVING LIVING ONES. / CHAPTER I. BODB DEARG; lines 2983-3047 confidence: medium
Scathniamh, daughter of Bodb Dearg, loved Caoilte; after a long separation she comes from the cave of Cruachan to request her promised bride-price, and Caoilte gives her gold from a nearby cairn.
Scathniamh remains young and comely while Caoilte is old and withered; Caoilte explains this by contrasting mortal sons of Miled with undying Tuatha de Danaan.
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Gods and Fighting Men CHAPTER II. THE CALL OF OISIN / CHAPTER III. THE LAST OF THE GREAT MEN / BOOK ELEVEN: OISIN AND PATRICK. / CHAPTER I. OISIN'S STORY; lines 14360-14451 confidence: medium
The king welcomes Oisin, promises long life, youth forever, and all delights, identifies himself as king and Niamh as the royal daughter who sought Oisin as husband forever; Oisin bows, goes to the royal house, meets nobles, and feasts ten days and nights.
The king says Niamh, his daughter, crossed the sea seeking Oisin to be her husband forever, and Oisin says he married Niamh.
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Gods and Fighting Men CHAPTER II. THE CALL OF OISIN / CHAPTER III. THE LAST OF THE GREAT MEN / BOOK ELEVEN: OISIN AND PATRICK. / CHAPTER I. OISIN'S STORY; lines 14453-14543 confidence: medium
Oisin says he did not feel time passing, asks leave to see Finn and his comrades, and Niamh warns that if he gets off the horse or touches ground he will never return and will become old, blind, and withered.
The riders report that a young girl came looking for Finn’s son and that he went away with her to the Country of the Young; Niamh later appears as the one giving leave and a farewell kiss.
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Gods and Fighting Men CHAPTER II. THE DAGDA / CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE; lines 3313-3339 confidence: high
Herb-curers say Aine has power over the whole body; she gives poetry, music, and love to men and is called Leanan Sidhe, the Sweet-heart of the Sidhe.
Aine gives poetry, music, and love to men and is called the Leanan Sidhe, the Sweet-heart of the Sidhe.
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Gods and Fighting Men CHAPTER III. ANGUS OG / CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL; lines 3342-3384 confidence: medium
Aoibhell, a woman of the Sidhe dwelling in Craig Liath, loves Dubhlaing ua Artigan, tries to stop him before battle, and puts a Druid covering on him so no one can see him.
Aoibhell, a woman of the Sidhe, loves Dubhlaing, tries to stop him, and offers him two hundred years of happy life with her if he stays.
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Gods and Fighting Men CHAPTER III. THE BATTLE OF GABHRA / BOOK TEN: THE END OF THE FIANNA. / CHAPTER I. DEATH OF BRAN / CHAPTER II. THE CALL OF OISIN; lines 14163-14262 confidence: medium
The woman tells Finn that she is Niamh of the Golden Head, daughter of the King of the Country of the Young, has come from over the sea, and loves Oisin for his bravery and comeliness.
Niamh, a royal woman from the Country of the Young, calls Oisin to leave with her; he accepts, farewells his kin, and departs on her horse.
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Gods and Fighting Men CHAPTER IV. RED RIDGE / BOOK THREE: THE BATTLE OF THE WHITE STRAND. / CHAPTER I. THE ENEMIES OF IRELAND / CHAPTER II. CAEL AND CREDHE; lines 7132-7234 confidence: medium
Cael says he came from Brugh na Boinne to consult Muirenn about a high marriage and a Sidhe woman, Credhe, shown in a dream; Finn says Credhe requires a poem describing her vessels and palaces, and Cael says Muirenn gave it to him.
Cael says a woman of the Sidhe was shown to him in a dream as part of a high marriage, and Credhe later accepts him as husband.
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Gods and Fighting Men CHAPTER IV. THE MORRIGU / CHAPTER V. AINE / CHAPTER VI. AOIBHELL / CHAPTER VII. MIDHIR AND ETAIN; lines 3494-3596 confidence: medium
Eochaid asks the woman's name; she says she is Etain, daughter of Etar, King of the Riders of the Sidhe. Eochaid loves her, pays the bride-price, and brings her to Teamhair as his wife.
Etain is identified as daughter of a Sidhe king, and Eochaid pays bride-price and brings her to Teamhair as his wife.
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Gods and Fighting Men CHAPTER IX. MANANNAN AT PLAY / CHAPTER X. HIS CALL TO BRAN / CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE; lines 4449-4531 confidence: medium
Gebann is identified as a chief Druid in Manannan's country; his daughter, Cliodna of the Fair Hair, sees Ciabhan, loves him, and agrees to go away with him the next day.
Cliodna, daughter of a chief Druid in Manannan's country, sees Ciabhan, loves him, and agrees to leave with him.
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Gods and Fighting Men CHAPTER VII. ILBREC OF ESS RUADH / CHAPTER VIII. THE CAVE OF CRUACHAN / CHAPTER IX. THE WEDDING AT CEANN SLIEVE / CHAPTER X. THE SHADOWY ONE; lines 9710-9744 confidence: medium
Finn had "no great luck" looking for a wife and had "no better luck" asking a wife from among the Sidhe.
Finn seeks a wife among the Sidhe, asks Scathach in marriage, and receives her father's promise, but Scathach puts the company to sleep and they awaken away from the Sidhe hill.
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Gods and Fighting Men CHAPTER XI. HIS THREE CALLS TO CORMAC / CHAPTER XII. CLIODNA'S WAVE / CHAPTER XIII. HIS CALL TO CONNLA / CHAPTER XIV. TADG IN MANANNAN'S ISLANDS; lines 4785-4886 confidence: medium
The young man says he is Connla, son of Conn of the Hundred Battles, and that the girl of many shapes brought him there. She says she brought him because of love and affection so they might look at each other forever.
Connla says the girl of many shapes brought him there, and she says she brought him because of love and affection so that they might look at one another forever.
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Gods and Fighting Men CHAPTER XIII. FINN AND THE PHANTOMS / CHAPTER XIV. THE PIGS OF ANGUS / CHAPTER XV. THE HUNT OF SLIEVE CUILINN / BOOK FIVE: OISIN'S CHILDREN; lines 10402-10461 confidence: medium
Aedh says the actual Etain is his daughter and a darling of the Tuatha de Danaan; her lover is Osgar, she sent Be-mannair in her own shape, and a rich offer from the son of the High King was refused because Etain did not wish it.
Etain is called a darling of the Tuatha de Danaan, has Osgar as her chosen lover, rejects another suitor, obtains an oath, and marries Osgar at a wedding-feast.
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Gods and Fighting Men WITH A PREFACE BY W.B. YEATS / DEDICATION TO THE MEMBERS OF THE IRISH LITERARY SOCIETY OF NEW YORK / AUGUSTA GREGORY. / PREFACE; lines 192-262 confidence: medium
"There is not a king's son or a prince, or a leader of the Fianna of Ireland, without having a wife or a mother or a foster-mother or a sweetheart of the Tuatha de Danaan."
The quoted messenger says Fianna leaders have wives, mothers, foster-mothers, or sweethearts of the Tuatha de Danaan.
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Gods and Fighting Men WITH A PREFACE BY W.B. YEATS / DEDICATION TO THE MEMBERS OF THE IRISH LITERARY SOCIETY OF NEW YORK / AUGUSTA GREGORY. / PREFACE; lines 264-326 confidence: medium
Oisin or Bran, son of Febal, "rides or sails in an enchanted ship to some divine country" seeking delighted companionship or love with faces that never fade.
The voyage to the divine country is described as seeking delighted companionship or love with faces that will never fade.
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Myths & Legends of the Celtic Race CHAPTER I: THE CELTS IN ANCIENT HISTORY / CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS; lines 3668-3744 confidence: high
The passage says Milesian kings and heroes come to the foreground, while Danaan divinities remain present in nearby fairyland; mortals and Danaans may cross barriers, Faëry brides may leave mortals, supernatural children may be born, and Danaans are beautiful, limitedly immortal, magical, not morally governing or worshipped, and vulnerable to being slain.
Mortals may win brides of Faëry who mysteriously leave after a while.
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Myths & Legends of the Celtic Race CHAPTER I: THE CELTS IN ANCIENT HISTORY / CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS; lines 3931-4017 confidence: medium
The events are set in the Land of Youth of the People of Dana; Midir the Proud, son of the Dagda and Danaan prince on Slieve Callary, has wife Fuamnach and takes Etain, whose beauty becomes proverbial.
Etain’s beauty is proverbial; when Eochy sees her by the spring, she is described as surpassingly beautiful and seemingly from the fairy mounds.
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Myths & Legends of the Celtic Race CHAPTER I: THE CELTS IN ANCIENT HISTORY / CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS; lines 4232-4326 confidence: high
A Land of Youth denizen comes as a great bird through the roof-window, sheds bird-plumage as a glorious youth, is loved as a god, and foretells Conary’s birth and bird prohibition; the passage likens the episode to Danaë, Leda, and Ethlinn.
The passage describes a Land of Youth visitor arriving as a bird, becoming a glorious youth, and foretelling the birth of Conary to the Danaan lover.
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Myths & Legends of the Celtic Race CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE; lines 5907-6002 confidence: medium
An unknown man directs Cuchulain to the pillar-stone; a Danaan woman in a green mantle says Fand, wife of Mananan, loves him and seeks his aid against three demon kings in exchange for her love.
Cuchulain is summoned to aid Fand, Laeg reaches Fairyland across a lake in a magic boat, and Cuchulain later travels there to battle the demons.
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Myths & Legends of the Celtic Race CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE; lines 5907-6002 confidence: medium
An unknown man directs Cuchulain to the pillar-stone; a Danaan woman in a green mantle says Fand, wife of Mananan, loves him and seeks his aid against three demon kings in exchange for her love.
The Danaan woman states that Cuchulain's help against the demon kings is sought and that the price of his help will be Fand's love.
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Myths & Legends of the Celtic Race CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE; lines 5907-6002 confidence: high
Emer hears of the tryst and arrives with fifty maidens armed with knives to slay Fand; Cuchulain prepares to defend Fand and praises her beauty, skill, and magical powers, while Emer replies.
Emer confronts Fand with armed attendants, Cuchulain defends and praises Fand, and Fand and Emer debate which woman should be deserted.
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Myths & Legends of the Celtic Race CHAPTER III: THE IRISH INVASION MYTHS / CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE / CHAPTER VI: TALES OF THE OSSIANIC CYCLE; lines 7183-7292 confidence: high
On a misty summer morning by Loch Lena, Finn, Oisín, and companions see a beautiful maiden in queenly dress approach on a snow-white steed adorned with silver shoes and gold.
Niam, daughter of the King of the Land of Youth, comes from afar for love of Oisín, asks him to accompany her, and he leaves on her fairy steed.
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Myths & Legends of the Celtic Race CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE / CHAPTER VI: TALES OF THE OSSIANIC CYCLE / CHAPTER VIII: MYTHS AND TALES OF THE CYMRY; lines 9206-9283 confidence: medium
Marie's tales are set in Arthur's time and allude to the Round Table. The passage notes Lanval, Arthur's queen, Lanval's fairy mistress in Avalon, Gawain, and the Tristan-Iseult-Brangien material.
Lanval rejects Arthur's queen because he already has a fairy mistress in the isle of Avalon.
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Myths & Legends of the Celtic Race CHAPTER IV: THE EARLY MILESIAN KINGS / CHAPTER V: TALES OF THE ULTONIAN CYCLE / CHAPTER VI: TALES OF THE OSSIANIC CYCLE / CHAPTER VIII: MYTHS AND TALES OF THE CYMRY; lines 9365-9451 confidence: medium
The passage says love or woman-worship is almost absent in Irish Ultonian and Ossianic romance; in the Deirdre and Dermot/Grania tales, women woo and men are reluctant.
The passage defines the lady-love motif as central to English, French, and German chivalric romance, says it is almost absent in Gaelic romances, and says it is discernible in Welsh tales.
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Myths & Legends of the Celtic Race EAGLE OF GWERN ABWY, THE, 392 / FEET SYMBOL, THE TWO. 77 / MYTHOLOGICAL CYCLE, THE, 95, 96 / SHIP SYMBOL, THE. 71-76; lines 14802-14972 confidence: low
Youth is the maiden who gives the Love Spot to Dermot.
The maiden Youth gives the Love Spot to Dermot.
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Myths & Legends of the Celtic Race GLOSSARY AND INDEX / THE PRONUNCIATION OF CELTIC NAMES / I. GAELIC / II. CYMRIC; lines 11491-11703 confidence: medium
Angus Ōg is son of the Dagda and Irish god of love; he wooes and wins Caer, revives Dermot, rescues Dermot and Grania by magical devices, and bears away Dermot’s body.
Angus Ōg, Irish god of love, wooes and wins Caer.
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Myths & Legends of the Celtic Race GLOSSARY AND INDEX / THE PRONUNCIATION OF CELTIC NAMES / I. GAELIC / II. CYMRIC; lines 11891-12101 confidence: medium
Caer is Ethal Anubal’s daughter, wooed by Angus Ōg, described as having a dual life, and accepting Angus Ōg’s love.
Caer is said to have a dual life, to be wooed by Angus Ōg, and to accept his love.
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Myths & Legends of the Celtic Race GLOSSARY AND INDEX / THE PRONUNCIATION OF CELTIC NAMES / I. GAELIC / II. CYMRIC; lines 12405-12548 confidence: medium
Cuchulain entry: places Maev’s host under geise; battle-frenzy and rias-tradh; compact with Fergus; Morrigan offers love and attacks him during combat with Loch; slays Loch and Ferdia; is severely wounded; goes to Fairyland and is loved by Fand.
The Morrigan is said to love and befriend Cuchulain, offer love to him, attack him in combat, and croak of war before him; Fand also loves him in Fairyland.
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Myths & Legends of the Celtic Race I. GAELIC / II. CYMRIC / DODDER, THE RIVER, 175 / EAGLE OF GWERN ABWY, THE, 392; lines 12714-12914 confidence: medium
Fand is described as the Pearl of Beauty and wife of Mananan; she loves Cuchulain and returns home with Mananan.
Fand, wife of Mananan, sets her love on Cuchulain and returns home with Mananan.
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Myths & Legends of the Celtic Race II. CYMRIC / DODDER, THE RIVER, 175 / EAGLE OF GWERN ABWY, THE, 392 / FEET SYMBOL, THE TWO. 77; lines 14033-14193 confidence: medium
Messbuachalla is the only daughter of Etain Oig; her name means “the cowherd’s foster-child”; she is visited by a Danaan lover, and the birth of Conary is noted.
Messbuachalla is visited by a Danaan lover, and the birth of Conary is referenced.
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Myths & Legends of the Celtic Race II. CYMRIC / DODDER, THE RIVER, 175 / EAGLE OF GWERN ABWY, THE, 392 / FEET SYMBOL, THE TWO. 77; lines 14033-14193 confidence: medium
Midir is a son of the Dagda and type of splendour; Fuamnach is his wife; Etain is his second bride; he recovers Etain from Eochy and later yields her up.
Midir’s second bride is Etain, and he recovers her from Eochy before yielding her up.
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Myths & Legends of the Celtic Race ILLUSTRATIONS / CHAPTER I: THE CELTS IN ANCIENT HISTORY / CHAPTER II: THE RELIGION OF THE CELTS / CHAPTER III: THE IRISH INVASION MYTHS; lines 2987-3092 confidence: high
Angus falls sick for a maiden seen in a dream; Boanna and the Dagda cannot find her until Bōv the Red, skilled in mysteries and enchantments, locates her at the Lake of the Dragon's Mouth after a year.
Angus falls sick for a maiden seen in a dream, and a multi-stage search brings him to Caer at the lake.
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Popular Tales of the West Highlands, Volume 1 SGEUIACHD A PHEATA BHAIN. 203 / THE STORY OF THE WHITE PET. 205 / THE STORY OF THE WHITE PET. 207 / THE DAUGHTER OF THE SKIES. 209; lines 10993-11066 confidence: medium
The woman asks to visit her father; the man warns her not to stay until she has children and gives instructions for using a steed and bridle to return.
The male partner controls a steed summoned by a bridle, arrives with sleep-bringing music, and becomes inaccessible after the woman tells her father.
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Popular Tales of the West Highlands, Volume 2 BADENOCH. / BADENOCH FAIRIES. 77 / EOSS. / MAN FAIRIES. 81; lines 2179-2218 confidence: medium
A man near Port Erin had a Lhiannan shee or fairy sweetheart; after noticing her he lost his mind, slept in a barn, and was heard talking to and sometimes scolding her at night.
The man near Port Erin is said to have a Lhiannan shee or fairy sweetheart; after noticing her he lost his mind, and the narrator says his madness was attributed to the fairy mistress.
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The Mabinogion C. E. G. / THE LADY OF THE FOUNTAIN / PEREDUR THE SON OF EVRAWC / GERAINT THE SON OF ERBIN; lines 4397-4482 confidence: medium
Olwen is described in flame-coloured silk and jeweled gold; whoever beholds her is filled with love, and “Four white trefoils sprung up wherever she trod.”
Olwen is described as causing love in those who behold her, and four white trefoils spring wherever she treads.
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The Mabinogion GERAINT THE SON OF ERBIN / THE DREAM OF RHONABWY / PWYLL PRINCE OF DYVED / THE DREAM OF MAXEN WLEDIG; lines 8239-8328 confidence: medium
“I have seen a dream. And in the dream I beheld a maiden, and because of the maiden is there neither life, nor spirit, nor existence within me.”
The emperor sees a maiden in his sleep, becomes unable to live normally because of her, and sends envoys to find the woman from the dream.
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The Mabinogion INTRODUCTION / C. E. G. / THE LADY OF THE FOUNTAIN / PEREDUR THE SON OF EVRAWC; lines 1942-1999 confidence: medium
“Then Peredur went by the name of the Dumb Youth.”
Angharad declares love for the apparently mute youth; Peredur answers her, and it becomes known that he is Peredur.
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The Mythology of the British Islands CHAPTER X / THE CONQUEST OF THE GODS BY MORTALS / CHAPTER XI / THE GODS IN EXILE; lines 4324-4416 confidence: high
Angus is described as the Gaelic Eros; a maiden appears to him in a dream and vanishes when he embraces her; she reappears to play and sing, and Angus fasts and wastes for love for a year until physicians recognize his condition.
A dream-maiden appears to Angus, disappears from his embrace, and causes a year of fasting and wasting until the gods search for her.
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The Mythology of the British Islands CHAPTER X / THE CONQUEST OF THE GODS BY MORTALS / CHAPTER XI / THE GODS IN EXILE; lines 4522-4661 confidence: medium
Mider appears to Etain as a beautifully dressed young man, tells her she was his wife among the people of the goddess Danu, asks her to come to his sídh at Bri Leith, and is refused.
Mider tells Etain she had been his wife among the people of the goddess Danu and later demands her from Eochaid, her mortal royal husband.
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The Mythology of the British Islands CHAPTER X / THE CONQUEST OF THE GODS BY MORTALS / CHAPTER XI / THE GODS IN EXILE; lines 4663-4848 confidence: medium
Mider tells Eochaid he has come to take Etain under the wager, embraces the willing woman, and both vanish; after the spell breaks, witnesses see two swans flying away.
Mider, described as a god elsewhere in the passage’s framing, claims Etain from Eochaid according to the wager, embraces her, and vanishes with her; she is later found hidden under his sídh.
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The Mythology of the British Islands CHAPTER XI / THE GODS IN EXILE / CHAPTER XII / THE IRISH ILIAD; lines 4851-4931 confidence: high
Eochaid Airem is a suitor for the goddess Etain and rival of Mider; Conchobar, Curoi, Mesgegra, Ailell, and Medb are linked to adventures among the sídh dwellers.
Eochaid Airem, high king of Ireland, is presented as a suitor for the goddess Etain and as rival of Mider.
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The Mythology of the British Islands CHAPTER XI / THE GODS IN EXILE / CHAPTER XII / THE IRISH ILIAD; lines 4851-4931 confidence: medium
The passage states that sons of gods could desire daughters of men and immortal women could form passing alliances with mortal men.
The passage states that sons of gods may desire mortal women and immortal women may form passing alliances with mortal men.
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The Mythology of the British Islands CHAPTER XI / THE GODS IN EXILE / CHAPTER XII / THE IRISH ILIAD; lines 5204-5291 confidence: medium
The Æs Sídhe watch Cuchulainn; the Morrígú appears as a red woman in a chariot, offers love and help, is rejected, threatens hostile shapes, and is recognized through a hoodie crow.
The Morrígú loves Cuchulainn and offers help; after rejection she threatens and attacks him, but after he heals her wounds she becomes his friend and helper.
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The Mythology of the British Islands CHAPTER XII / THE IRISH ILIAD / CHAPTER XIII / SOME GAELIC LOVE-STORIES; lines 5753-5858 confidence: high
Fand, wife of Manannán son of Lêr and deserted by the sea-god, sends Liban to Cuchulainn as an ambassador of love; Cuchulainn first refuses to visit and sends Laeg to the Happy Plain.
Fand is linked to the sea-god Manannán and the Sídhe, sends for Cuchulainn, and Cuchulainn stays with her in the Celtic Paradise.
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The Mythology of the British Islands CHAPTER XII / THE IRISH ILIAD / CHAPTER XIII / SOME GAELIC LOVE-STORIES; lines 5860-5954 confidence: medium
Manannán comes invisibly to Fand, asks pardon, asks her to choose, shakes his mantle between her and Cuchulainn, and Fand returns with him to the country of the immortals.
Fand is a goddess; Manannán, her divine husband, asks her to choose, uses his mantle to separate her from Cuchulainn, and returns with her to the immortals.
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The Mythology of the British Islands CHAPTER XVI / THE GODS OF THE BRITONS / CHAPTER XVII / THE ADVENTURES OF THE GODS OF HADES; lines 8674-8772 confidence: medium
Pwyll sees “a lady on a pure-white horse of large size, with a garment of shining gold around her”; a man sent on foot cannot overtake her.
Rhiannon appears as a beautiful mounted lady who cannot be overtaken despite seeming to ride slowly, and she later becomes Pwyll’s bride.
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The Mythology of the British Islands CHAPTER XVI / THE GODS OF THE BRITONS / CHAPTER XVII / THE ADVENTURES OF THE GODS OF HADES; lines 8674-8772 confidence: medium
The lady names herself Rhiannon, daughter of Heveydd the Ancient, says she came to seek Pwyll to avoid an unwanted marriage, pledges herself to him, and appoints a meeting at Heveydd’s palace in a year.
Rhiannon says others intend to marry her against her will, seeks Pwyll as the man of her choice, and is later claimed by Gwawl before the claim is defeated.
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The Mythology of the British Islands GAELIC / BRITISH / FOLKLORE COMPARATIVELY TREATED / INDEX; lines 13255-13383 confidence: medium
Angus is called a Gaelic god of love and beauty; subentries list his attributes, wooing of Caer, cheating of the Dagda, theft of Etain from Mider, help to Diarmait and Grainne, and pig contest against the Fenians.
The index lists Angus’s wooing of Caer, Angus stealing Etain from Mider, Diarmait and Grainne, and the winning of Olwen for Kulhwch by Amaethon and Arthur.
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The Mythology of the British Islands THE IRISH ILIAD / CHAPTER XIII / SOME GAELIC LOVE-STORIES / CHAPTER XIV; lines 6272-6347 confidence: high
Connla was 'wooed by a goddess and borne away, like the British Arthur, in a boat of glass to the Earthly Paradise beyond the sea.'
Connla is wooed by a goddess and taken in a glass boat to the Earthly Paradise beyond the sea.
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The Mythology of the British Islands THE IRISH ILIAD / CHAPTER XIII / SOME GAELIC LOVE-STORIES / CHAPTER XIV; lines 6349-6432 confidence: medium
Finn’s followers are described as doubtfully human, comparable to Cuchulainn’s circle, moving on equal terms with gods; a cited tract says the Fianna had frequent free intercourse with the Tuatha Dé Danann, and divine figures fight and marry among them.
The Fianna are said to have frequent free intercourse with the Tuatha Dé Danann, while divine figures fight for or against them and marry or are given to them in marriage.
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The Mythology of the British Islands THE IRISH ILIAD / CHAPTER XIII / SOME GAELIC LOVE-STORIES / CHAPTER XIV; lines 6777-6883 confidence: high
Ossian is the other survivor and had taken a great journey from which no ordinary mortal returns; the passage says that, like Cuchulainn, he went at a goddess’s invitation when Niamh, daughter of the Son of the Sea, came to the Fenians near Lake Killarney.
Niamh, described as a goddess in the comparison and as Manannán’s daughter, chooses Ossian as her lover and carries him away on a fairy horse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 CHAPTER I / Chapter II / Chapter III / CHAPTER IV; lines 2289-2430 confidence: high
The commentary says humans need access to a personal God for favor, solace, love, and aid; according to the Sikh Gurus, God is to be loved as a faithful wife loves her spouse, and human beings are to be regarded equally as brothers rather than divided by caste.
The passage says God is to be approached and loved as a fond and faithful wife loves her spouse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter I / Chapter II / Chapter III / Chapter IV; lines 6418-6543 confidence: medium
The Guru compares faqirs to iron made red by fire in God’s love, says they cannot be constrained, refuses a royal present, and says he asks for God and nothing else.
The Guru compares faqirs to iron reddened in the heat of God’s love and says Nanak is hungry for God.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter II / Chapter III / Chapter IV / Chapter V; lines 6546-6723 confidence: medium
The Guru’s hymn asks what scale, weights, and weighman could appraise the divine, addresses the divine as Beloved, says the divine fills sea, land, upper and nether regions, and identifies the divine with the balance, weights, scales, and weighman.
The hymn addresses the divine as Beloved, says the divine limit is unknown, and uses weighing imagery to state that the divine cannot be appraised in ordinary terms.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter III / Chapter IV / Chapter V / Chapter VI; lines 7322-7543 confidence: high
The Guru's verses say the virtuous wife enjoys her husband, the bad one may become virtuous, the Spouse is an abode of sweetness, and excepting One there is none besides.
The hymns repeatedly identify the divine as Spouse, Bridegroom, Lord, or God and describe attachment, love, and enjoyment in marital language.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter III / Chapter IV / Chapter V / Chapter VI; lines 7322-7543 confidence: medium
The Guru's verses say the virtuous wife enjoys her husband, the bad one may become virtuous, the Spouse is an abode of sweetness, and excepting One there is none besides.
The passage contrasts virtuous wives who enjoy the Spouse with the bad or worthless woman who lacks virtues, forgets the Bridegroom, and laments separation.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter III / Chapter IV / Chapter V / Chapter VI; lines 7545-7748 confidence: high
“Put the surma ... of God’s fear into thine eyes, and wear the decoration of love. Thou shalt be known as a devoted happy wife ... if thou love the Bridegroom.”
The hymn frames God as Bridegroom or Spouse and the devotee as a wife who obtains Him through love, grace, worship, and self-effacement.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter III / Chapter IV / Chapter V / Chapter VI; lines 7545-7748 confidence: medium
The happy wives advise accepting what the Bridegroom does, worshipping His feet, giving Him body and soul, and effacing the self as the means to obtain the Spouse.
The happy wives advise giving body and soul to the Bridegroom and effacing the self to obtain Him.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter V / Chapter VI / SIKK. 1 / Chapter VII; lines 7989-8212 confidence: high
Shaikh Brahm says, “my body faileth” and asks the beloved to be his physician; the Guru replies, “the Beloved is not far from thee; behold Him in thy heart.”
The passage repeatedly names the divine as Beloved, Bridegroom, and Spouse, speaks of virtues enabling meeting with Him, and states that real union will not be parted.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter V / Chapter VI / SIKK. 1 / Chapter VII; lines 8407-8564 confidence: high
The Guru's hymn addresses sisters and companions, the Omnipotent Spouse, the true Lord, the happy wife, ornaments of composure and contentment, the Beloved met through the Guru's word, and the true King blending a person with Himself.
The Guru's hymn frames God as Omnipotent Spouse and Beloved and describes the happy wife whose ornaments are virtues and who meets the Beloved through the Guru's word.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter VI / SIKK. 1 / Chapter VII / Chapter VIII; lines 8567-8742 confidence: medium
The hymn says devotees are content only with the Lord, like drunkards with stimulants or fishes with water; the Lord is a fruit-bearing tree whose name is ambrosia; Nanak is the Lord’s dealer and the Lord is his capital; illusion leaves when he praises and prays.
Nanak’s hymn asks why the Lord does not appear although the Lord abides with all, and asks how thirst can abate while a screen stands between him and the Tank.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter VI / SIKK. 1 / Chapter VII / Chapter VIII; lines 8744-8906 confidence: medium
The hymn describes the Lord's gifts as light, moon, and lamps; a Bridegroom, chosen bride, bridal procession, and marriage with five instruments; exchanged hearts with friends; partnership with virtue; silk, an arena glossed as company of saints, and nectar.
The hymn describes a Bridegroom who has chosen a bride, a bridal procession of attributes, and a marriage performed with splendour; the following prose says God arranges marriages and joins forever.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 CHAPTER VII / GURU NANAK, THE FOUNDER OF THE SIKH RELIGION / SIKH I P. I / Chapter I; lines 3691-3898 confidence: high
“I am called a married woman, my sister, but in reality I have never met my Husband.”
The verse says the speaker is called a married woman but has not met her Husband, and the note explains that the Gurus speak of God as husband and themselves as wives.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 CHAPTER VII / GURU NANAK, THE FOUNDER OF THE SIKH RELIGION / SIKH I P. I / Chapter I; lines 3900-4054 confidence: high
“Let Jogis practise Jog... Let penitents practise penance... But let me listen to Thy songs, O Beloved, if any will sit and sing them to me.”
The final verse addresses the divine as Beloved and expresses a desire to listen to songs sung to the speaker.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 CHAPTER VII / GURU NANAK, THE FOUNDER OF THE SIKH RELIGION / SIKH I P. I / Chapter I; lines 4235-4339 confidence: medium
Admonitory verses addressed to Rukn-ul-Din teach good works, self-knowledge, God's presence in the body, detachment, love of God, restraint, prayer, alms, truth, divine judgment, and finding God through service to the guru.
The verses say those whose hearts love God have no rest until they find Him, and that God is found through service to the guru.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter X / THE SIKH RELIGIO / Chapter XI / SIKH.; lines 10817-10965 confidence: medium
The poem says the woman is waiting for the Omnipresent Spirit, the chatrik cries 'Prio,' the kokil sings, and the woman embraced by her Spouse is happy.
The poem addresses God as Beloved and Spouse, depicts a woman waiting for the Omnipresent Spirit, and says the embraced woman is happy.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter X / THE SIKH RELIGIO / Chapter XI / SIKH.; lines 10968-11162 confidence: high
Chet is spring; bees, flowering forests, a kokil on a mango-tree, and flowering branches appear while the wife suffers because the Beloved has not returned; Nanak says comfort comes if woman obtains God at home as Spouse.
The passage repeatedly calls God the Spouse, Beloved, Darling, or Lord whom the woman seeks, misses, addresses, and meets.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter X / THE SIKH RELIGIO / Chapter XI / SIKH.; lines 11164-11315 confidence: high
In Magh, a woman becomes pure by knowing the place of pilgrimage within; the speaker meets the Friend, is blended with Him, makes divine attributes ornaments, and says she will bathe in God’s tank if He pleases.
The speaker addresses God as Beloved and Spouse, adorns herself, is joined to God by the Guru, and is described as a permanent bride.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter XIV / Chapter XV / SIKH. / Chapter XVI; lines 13403-13497 confidence: medium
The hymn says wealth, youth, and flowers are guests for four days, fading like water-lily leaves; it urges enjoyment of God’s love while youth is fresh, days are few, and the body’s garment has grown old.
The hymn urges enjoyment of God’s love and then addresses a fair one who must leave her father’s house for her father-in-law’s house, linking departure with merits and demerits.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 Chapter XV / SIKH. / Chapter XVI / Chapter XVII; lines 13500-13686 confidence: high
Guru Nanak orders the Sohila sung; its verses include marriage and bride imagery and a prayer to meet the Lord, while a note states that death is here considered a marriage, as among the ancient Greeks.
The Sohila uses marriage, bride, and meeting-the-Lord language, and the note explicitly says death is considered a marriage in this context.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 GURU NANAK, THE FOUNDER OF THE SIKH RELIGION / SIKH I P. I / Chapter I / Chapter II; lines 4686-4876 confidence: medium
The hymn says the Lord and His name are true, God gives daily bread, none is like Him, He made day and night, and those who forget their Spouse are nothing without His name.
The hymn says that those who forget their Spouse are bad characters and are nothing without His name; the passage note identifies the allusion as forgetting God.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 GURU NANAK, THE FOUNDER OF THE SIKH RELIGION / SIKH I P. I / Chapter I / Chapter II; lines 4879-5070 confidence: medium
Nanak says, “The ignorant physician knoweth not that it is in my mind the pain is,” and “The Creator who gave me this pain, will remove it.”
Nanak tells the physician that his pain is in the mind, identifies it as separation from God and hunger for contemplation, and rejects ordinary medicine as unable to treat it.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 SIKH I P. I / Chapter I / Chapter II / Chapter III; lines 5608-5768 confidence: high
Religious men offer Nanak homage; Nanak recites a hymn using worldliness, avarice, robe, dye, madder, Lord as Dyer, and bride-Bridegroom imagery.
The hymn uses Spouse, couch, Bridegroom, bride, and pleasing the Bridegroom to describe acceptance by God.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 SIKK. 1 / Chapter VII / Chapter VIII / Chapter IX; lines 8909-9131 confidence: high
Verses describe a young wife at home longing for her absent Beloved, and another wife who, after death, calls from the grave that she has not met the Lord.
The exchange repeatedly uses wife, Beloved, and Spouse imagery for meeting the Lord through intention, merit, service, and virtue.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 SIKK. 1 / Chapter VII / Chapter VIII / Chapter IX; lines 9133-9319 confidence: high
Nanak's hymn says the maker watches the world and its garden, urges singing the Beloved's praises, describes the wife who regrets not enjoying the Spouse, and shows the seeker asking female companions who have enjoyed the Spouse to show the way.
The hymn repeatedly describes the Beloved, Spouse, Husband, wife, female companions, and the seeker's desire for real meeting.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 SIKK. 1 / Chapter VII / Chapter VIII / Chapter IX; lines 9524-9726 confidence: high
The Guru’s hymn says no one can kill whom God preserves, asks the Beloved to preserve him, names saints God preserved, and asks to be extricated from the ocean of the world.
The hymn addresses God as Beloved and says God preserves countless beings and named saints, and that no one can kill a person whom God preserves.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA'; lines 17669-17717 confidence: high
“The year and the auspicious time for marriage are recorded; relations meet and pour oil on me the bride.”
The speaker is presented as a bride and asks friends to pray that the speaker may meet the Lord.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 17720-17936 confidence: high
Nanak’s mind is fascinated with God’s lotus feet like a bumble-bee with a flower, and he asks for the water of God’s favour so he may dwell in God’s name.
The passage includes longing for God’s lotus feet, woman-and-Spouse language, the distant Beloved, and warning against separation from the Spouse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 17938-18161 confidence: high
A woman has no rest without the Word or Beloved; adornments are useless without the Spouse; the false do not enter God's court; honour comes through the Word.
The passage repeatedly frames the divine as Beloved or Spouse and the devotee as a woman or virtuous wife whose honour and joy depend on union or pleasing relation with Him.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 18163-18387 confidence: high
A Qazi and a pandit ask the Guru how man may find God and be blended with Him; the reply says all are wives of the Spouse and warns that love is not obtained by hypocrisy or counterfeit adornment.
The reply to the Qazi and pandit describes all as wives of the Spouse; the good wife is joined to the Beloved, blended with the True One, and not separated when united by the Word.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 18389-18595 confidence: high
Love for God is taught by examples of lotus and water, water-creatures and fish, chatrik and rain, water protecting milk in boiling, and chakwi longing for the sun and absent mate.
The passage explicitly uses natural examples to inculcate love for God: lotus for water, fish for water, chatrik for rain, water for milk, and chakwi for sun or absent mate.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 18803-19047 confidence: medium
Duhagins, women separated from husbands, are those who forget their Spouse and wander unhonoured.
Duhagins, women separated from husbands, are identified as those who forget their Spouse and wander unhonoured.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 19049-19267 confidence: medium
Rivers are imagined as cattle, springs as milk and clarified butter, earth as sugar, mountains as gold and silver with gems, and the flora as fruit and rice; in each case the speaker would still magnify God without ceasing. A note links the eighteen loads of flora to ancient Sanskrit writers.
Even if rivers, springs, earth, and mountains became sources of extraordinary abundance and treasure, the speaker’s desire to magnify God would not cease.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS / THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259; lines 19269-19509 confidence: high
Women who adorn themselves with love and affection for their Spouse are not restrained from devotion, abide in His chambers, are regenerated by the Word, supplicate the Beloved, and quaff nectar when hopes are fulfilled by the Word.
Women are told to adorn themselves with love for their Spouse, dwell in His chambers, supplicate the Beloved, and appear beautiful near Him.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 19756-19976 confidence: high
The speaker imagines becoming a fawn in the forest, a koil in a mango-tree, a fish in water, and a serpent in the ground while continuing devotion to the Lord and the Word. God is called Spouse, and happy married wives are absorbed in God's light.
The speaker calls God 'My Spouse' and describes happy married wives as absorbed in God's light.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 20207-20439 confidence: high
The pious longing for God is compared to a young bride's longing for her spouse; she cannot sleep without her Beloved, worldly enjoyments are vain, and she meets her Spouse when he causes the meeting.
The passage explicitly compares pious longing for God to a young bride's longing for her spouse and describes recognition of the Bridegroom, the Friend coming home, and the union of Husband and wife.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 20441-20663 confidence: high
The Bridegroom comes to the speaker's house; female companions arrange the marriage; ladies are asked to sing a bridal song; through the Guru the speaker recognizes the Spouse; God is the Spouse of all, and the favoured one is a happy wife.
The first-person speaker rejoices at the Bridegroom's arrival, the Guru brings about the marriage, God is called the Spouse of all, and the favoured one is the happy wife.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 20665-20888 confidence: high
The passage opens by addressing God as the only Beloved, present in all colours and forms, and as one who pardons those regarded with favour.
God is addressed as Beloved and Spouse, and the devotee seeks meeting, favour, and pleasing of the divine partner.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 20890-21118 confidence: medium
The speaker will adorn themself to meet the Beloved, has five companions and one husband; the soul departs, the senses weep, and the soul is arrested to give account.
The speaker prepares to meet the Beloved, wears flower necklaces, and describes having one husband in relation to the soul and five companions.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 21349-21479 confidence: high
Nanak asks the True One to look on him with favour so that "I who am separated from Thee may meet Thee."
The speaker asks that, being separated from God, he may meet God, and the bridal verses describe meeting the divine Spouse through favour and love.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 21349-21479 confidence: high
The reply addresses a young woman, calls the Beloved playful, says a loving wife may meet her Spouse if the Lord God favours her, and describes her bed with the Beloved and seven tanks filled with nectar.
God is repeatedly called Beloved, Spouse, and lover; the woman or speaker loves, meets, exchanges hearts with, and belongs to God as Spouse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE RAHIRAS 257 / THE SOHILA' / THE SOHILA 259 / SIKH. 1; lines 21349-21479 confidence: high
The passage says the desired result is "not obtained by intellect, or study, or by great cleverness" but "by love," and concludes that God is Nanak's Beloved.
The passage states that what the heart desires is obtained by love, not by intellect, study, or great cleverness.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 21482-21699 confidence: high
In a section on the Guru’s God being superior to Hindu demigods, Brahma springs from the lotus of Vishnu’s navel and recites the Veds, yet cannot see God’s limits; God is called the Beloved and support of the soul.
God is called the Beloved and the support of the soul, while Nanak asks for love of the pure Name.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 21701-21928 confidence: high
A heading says the Guru saw God in dreams and awoke with pain of separation; the verses describe peacocks crying in the rainy season, sisters addressed, a fervent woman bound by God's glances, and sacrifice to God's sight and Name.
God is addressed as Beloved and Bridegroom; the female devotional voice laments separation, failed adornment, the Beloved's vanishing after a dream, and longing to behold the Lord again.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 22349-22596 confidence: high
The speaker says, “by Thy name shall I cross over,” declares there is “only one True Being” with “no second,” addresses the deity as Beloved, and says Nanak is the deity’s slave and sacrifice.
The deity is addressed as Beloved and Spouse; a woman or wife is honored if she pleases the Spouse, and the speaker asks how to meet the Spouse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 22598-22824 confidence: high
God is asked to attach an unadorned woman to the divine feet; the woman who dismisses pride is absorbed in her Beloved; the speaker reports many births of separation and asks the Beloved Sovereign to take the speaker's hand.
God is repeatedly addressed as Beloved, Spouse, Bridegroom, and Friend, while a woman or wife-like speaker longs for union and beholding.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 22826-23072 confidence: medium
The speaker praises those whose words are God’s praises, longs as one separated from God for a night with the Bridegroom, and compares loveless people to a guest in an empty house.
The devotional voice uses the figure of a married woman separated from God and speaks of the Bridegroom’s delights.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 23763-23971 confidence: high
A woman separated from God or the Beloved wanders in transmigration, asks for a favorable glance, pines without the Beloved, contrasts father’s and father-in-law’s houses, and is contrasted with the wife who has found the Beloved and sleeps in peace; truth is applied as salve to the eyes; the Spouse does not part from those imbued with love of the True One.
The passage repeatedly frames the devotional relation as a woman or wife separated from, longing for, or united with the Beloved/Husband/Spouse.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 23763-23971 confidence: high
God is the only true friend and relation; ordinary kin do not remain; the true relationship with the Beloved found through the Guru is never sundered; the speaker says the Guru united her with the Beloved; relatives come and go like passengers, and crowds at the river depart with baggage like travellers.
The passage lists relatives who do not remain, while the relationship with the Beloved found through the Guru never breaks.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 24656-24874 confidence: high
In Malar Ashtapadi, the Guru uses familiar Indian examples: the chakwi longing for her mate, the lotus rejoicing in sunbeams, the chatrik thirsting for special raindrops, the fish depending on water, and the woman separated from her Beloved sending a message through the true Guru.
The passage addresses God as Beloved and uses multiple images of longing for mate, sun, rain, water, or absent beloved to express devotion.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 THE SOHILA' / THE SOHILA 259 / SIKH. 1 / SIKH. 1; lines 24876-25109 confidence: medium
The passage reflects on widows: one follows her husband and dies; another dies from news of her husband’s death; the Allwise strikes with an arrow of love that cannot be extracted.
The widow passage speaks of death after the husband and of the Allwise striking with an arrow of love that cannot be removed.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 XXXVII / THE JAPJI / XXXVIII / SIKH. 1; lines 17006-17212 confidence: medium
Guru Angad asks what love attaches to worldly things and says, “call him a lover who is ever absorbed in God.”
A true lover is defined as one absorbed in God, and one who longs for God is said to meet Him; service is also framed as love of the master.
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The Sikh Religion: Its Gurus, Sacred Writings and Authors, Vol. 1 XXXVIII / SIKH. 1 / S0DAR2 / THE RAHIRAS; lines 17258-17381 confidence: high
The speaker says repeating the true Name brings life and forgetting it brings death; hunger for the true Name, once satisfied, removes pain. God is true, incomparable, deathless, giver of unfailing daily bread, maker of day and night, and is called Spouse in relation to those who forget Him.
The passage refers to those who forget their Spouse and are nothing without God's name.
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greek roman
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Myths and Legends of Ancient Greece and Rome ALCMAEON AND THE NECKLACE. / THE HERACLIDAE. / THE SIEGE OF TROY. / RETURN OF THE GREEKS FROM TROY.; lines 10299-10392 confidence: medium
Calypso welcomes and tends Odysseus, offers immortality and eternal youth if he remains, but Odysseus longs for Penelope, his son, and home; Poseidon's curse continues, and Calypso detains him seven years against his will.
Calypso detains Odysseus for seven years, offers immortality and eternal youth if he remains, and releases him only after Zeus sends Hermes with a command.
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Myths and Legends of Ancient Greece and Rome ALCMAEON AND THE NECKLACE. / THE HERACLIDAE. / THE SIEGE OF TROY. / RETURN OF THE GREEKS FROM TROY.; lines 10299-10392 confidence: high
Calypso welcomes Odysseus and ministers to him; attached to him, she offers immortality and eternal youth if he stays, but he longs for Penelope and his son, refuses, and is detained seven years against his will.
Calypso becomes attached to Odysseus, offers immortality and eternal youth if he remains, but he longs for Penelope and his son and is detained unwillingly.
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Myths and Legends of Ancient Greece and Rome APHRODITE (VENUS). / VENUS. / HELIOS (SOL). / EOS (AURORA).; lines 2159-2198 confidence: high
Eos becomes united to Tithonus, son of Laomedon, king of Troy, because of his beauty; she obtains immortality for him from Zeus but forgets eternal youth.
Eos loves Tithonus, obtains immortality for him from Zeus, but fails to secure eternal youth, producing an immortal old age.
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Myths and Legends of Ancient Greece and Rome APHRODITE (VENUS). / VENUS. / HELIOS (SOL). / EOS (AURORA).; lines 2159-2198 confidence: high
Eos later unites with Tithonus, son of Laomedon, asks Zeus to grant him immortality but forgets eternal youth; Tithonus ages, loses beauty, is shut in a chamber, and is reduced nearly to voice alone.
Eos loves Tithonus for his beauty and obtains immortality for him from Zeus, but the gift lacks eternal youth.
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Myths and Legends of Ancient Greece and Rome CERES. / APHRODITE (VENUS). / VENUS. / HELIOS (SOL).; lines 1985-2069 confidence: medium
Helios loves Clytie, then Leucothea; Clytie informs Orchamus, who buries Leucothea alive; Helios cannot revive her, sprinkles her grave with nectar, and frankincense grows there.
Clytie is a beloved of Helios, loses him, refuses sustenance, and becomes a flower that turns toward the sun.
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Myths and Legends of Ancient Greece and Rome CERES. / APHRODITE (VENUS). / VENUS. / HELIOS (SOL).; lines 1985-2069 confidence: high
Helios loves Clytie, then Leucothea; Clytie informs Orchamus, who buries Leucothea alive; Helios tries to restore her and sprinkles nectar on her grave, where frankincense grows.
Helios loves Clytie, turns to Leucothea, and Clytie's jealousy leads her to inform Orchamus.
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Myths and Legends of Ancient Greece and Rome CONTENTS. / MYTHS AND LEGENDS OF ANCIENT GREECE AND ROME. / PART I.--MYTHS. / INTRODUCTION.; lines 305-397 confidence: high
The gods have higher mental qualifications yet show revenge, deceit, and jealousy; they punish evil-doers and impious mortals, visit mankind, partake of hospitality, unite with mortals, produce heroes or demi-gods, and are immortal though not invulnerable.
Gods and goddesses become attached to mortals, unite with them, and have offspring called heroes or demi-gods renowned for strength and courage.
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Myths and Legends of Ancient Greece and Rome CONTENTS. / MYTHS AND LEGENDS OF ANCIENT GREECE AND ROME. / PART I.--MYTHS. / INTRODUCTION.; lines 305-397 confidence: high
The gods have higher mental qualities but human passions, punish evil-doers and impious mortals, visit mankind, unite with mortals, produce heroes or demi-gods, and remain immortal though not invulnerable.
The passage states that gods and goddesses become attached to mortals, unite with them, and produce heroes or demi-gods.
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Myths and Legends of Ancient Greece and Rome DIANA. / HEPHAESTUS (VULCAN). / VULCAN. / POSEIDON (NEPTUNE).; lines 3296-3398 confidence: high
Poseidon marries Amphitrite after wooing her as a dolphin; Amphitrite transforms Scylla with herbs in a well into a twelve-footed, six-headed monster with a dog-like voice, who lives in a high cave and seizes victims from passing ships.
Poseidon woos Amphitrite as a dolphin and later assumes Enipeus' form to win Tyro's love.
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Myths and Legends of Ancient Greece and Rome DIANA. / HEPHAESTUS (VULCAN). / VULCAN. / POSEIDON (NEPTUNE).; lines 3296-3398 confidence: medium
Polyphemus, a man-eating Cyclops blinded and outwitted by Odysseus, loves Galatea; when she prefers Acis, Polyphemus kills Acis with a rock, and Acis' blood forms a named stream.
Polyphemus loves Galatea, is rejected in favor of Acis, and kills Acis with a gigantic rock.
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Myths and Legends of Ancient Greece and Rome DRYADES, OR TREE NYMPHS. / NYMPHS OF THE VALLEYS AND MOUNTAINS. / NAPAEAE AND OREADES. / THE WINDS.; lines 5469-5497 confidence: high
Zephyrus is united to Chloris/Flora; Boreas sees Oreithyia by the river Ilissus, carries her to Thrace, makes her his bride, and with her parents Zetes and Calais, later famous in the Argonaut expedition.
Boreas sees Oreithyia by the Ilissus, carries her off to Thrace, and makes her his bride.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4825-4914 confidence: high
Psyche's beauty makes Aphrodite jealous; after Delphi's response, Psyche is dressed as for the grave and taken to a precipice, then Zephyrus carries her to a meadow palace with groves and fountains.
Psyche is taken to Eros's palace, becomes his spouse, and is warned not to behold his form; breaking this restriction causes his departure.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4825-4914 confidence: high
At night Psyche approaches Eros with lamp and dagger, sees his beautiful form, spills burning oil on his shoulder, and Eros wakes, reproaches her, spreads his wings, and flies away.
After Eros departs, Psyche wanders in search of him and receives difficult tasks from Aphrodite while helped by invisible beings sent by Eros.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4825-4914 confidence: medium
Psyche, youngest of three princesses, is so beautiful that Aphrodite grows jealous; after Delphi’s oracle, her father has her dressed as for the grave and taken to a precipice, from which Zephyrus carries her to a meadow palace.
Aphrodite becomes jealous of Psyche’s beauty and later imposes extremely difficult tasks on her.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4825-4914 confidence: high
Psyche, youngest of three princesses, is so beautiful that Aphrodite grows jealous; after Delphi’s oracle, her father has her dressed as for the grave and taken to a precipice, from which Zephyrus carries her to a meadow palace.
Psyche is dressed as for death, taken to a precipice, and transported by Zephyrus to the palace of Eros.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4917-4962 confidence: medium
After quitting the lower world, Psyche opens the casket from curiosity; instead of beauty charms, dense black vapour issues from it and throws her into death-like sleep.
Black vapour causes death-like sleep, and Eros, Psyche's divine beloved, awakens her and intervenes for her restoration.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4917-4962 confidence: medium
After leaving the lower world, Psyche opens the box from curiosity; a dense black vapour comes out and throws her into a death-like sleep.
The black vapour throws Psyche into death-like sleep, and Eros, her beloved, awakens her with a golden arrow.
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Myths and Legends of Ancient Greece and Rome FORTUNA. / ANANKE (NECESSITAS). / MOMUS. / EROS (CUPID, AMOR) AND PSYCHE.; lines 4917-4962 confidence: medium
Psyche undergoes severe penance; Aphrodite orders her to descend into the underworld and obtain from Persephone a box containing charms of beauty.
Psyche undergoes severe penance and trials before being reunited with Eros and admitted among the immortal gods; the passage explicitly presents the myth as an allegory of the soul purified by suffering before reunion with divine essence.
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Myths and Legends of Ancient Greece and Rome IRIS (THE RAINBOW). / HEBE (JUVENTAS). / JUVENTAS. / GANYMEDES.; lines 5033-5050 confidence: medium
Ganymedes draws water from a well on Mount Ida; Zeus observes his beauty and sends his eagle to transport him to Olympus.
Zeus is struck by Ganymedes' beauty and has him brought to Olympus.
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Myths and Legends of Ancient Greece and Rome IRIS (THE RAINBOW). / HEBE (JUVENTAS). / JUVENTAS. / GANYMEDES.; lines 5033-5050 confidence: medium
Ganymedes, youngest son of Tros, king of Troy, draws water from a well on Mount Ida; Zeus sees his beauty, sends his eagle to carry him to Olympus, grants him immortality, and makes him cup-bearer to the gods.
Zeus sees Ganymedes, is struck by his beauty, and has him brought to Olympus.
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Myths and Legends of Ancient Greece and Rome MARS. / NIKE (VICTORIA). / VICTORIA. / HERMES (MERCURY).; lines 3894-3936 confidence: medium
Hermes flies over Athens and sees maidens returning from the temple of Pallas-Athene, with Herse, daughter of king Cecrops, foremost among them; he decides to seek an interview with her.
Hermes is struck by Herse's beauty, seeks access to her, and persuades her to become his wife.
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Myths and Legends of Ancient Greece and Rome MARS. / NIKE (VICTORIA). / VICTORIA. / HERMES (MERCURY).; lines 3894-3936 confidence: medium
Hermes flies over Athens, sees maidens returning in procession from the temple of Pallas-Athene, and notices Herse, beautiful daughter of king Cecrops.
Hermes is struck by Herse's beauty, seeks access to her, removes an obstacle, and persuades her to become his wife.
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Myths and Legends of Ancient Greece and Rome NYMPHS OF THE VALLEYS AND MOUNTAINS. / NAPAEAE AND OREADES. / THE WINDS. / PAN (FAUNUS).; lines 5499-5583 confidence: medium
Pan pursues Syrinx to the river Ladon; she prays for help and is transformed into a reed. Pan hears the reeds, cuts seven of unequal length, joins them, and makes the syrinx in memory of her.
After Syrinx is transformed into a reed, Pan cuts seven reeds, joins them, creates the syrinx pipe, and names it in memory of his lost love.
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Myths and Legends of Ancient Greece and Rome OCEANIDES, NEREIDES, AND NAIADES. / OCEANIDES. / THE NEREIDES. / THE NAIADES.; lines 5367-5384 confidence: medium
The Naiades are said to form alliances with mortals and to be wooed by sylvan deities of the woods and dales.
The passage states that the Naiades often form alliances with mortals.
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Myths and Legends of Ancient Greece and Rome OCEANIDES, NEREIDES, AND NAIADES. / OCEANIDES. / THE NEREIDES. / THE NAIADES.; lines 5367-5384 confidence: medium
The passage says the Naiades often form alliances with mortals and are wooed by sylvan deities of woods and dales.
The passage states that Naiades often form alliances with mortals.
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Myths and Legends of Ancient Greece and Rome PELOPS. / HERACLES (HERCULES). / BELLEROPHON. / THESEUS.; lines 8505-8590 confidence: medium
At Naxos, Dionysus appears in a dream, says the Fates decree Ariadne as his bride, threatens misfortunes if Theseus refuses, and Theseus leaves Ariadne, who is later found and wooed by Dionysus.
Dionysus tells Theseus in a dream that the Fates have decreed Ariadne as his bride, and Ariadne is later found and wooed by the god.
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Myths and Legends of Ancient Greece and Rome PELOPS. / HERACLES (HERCULES). / BELLEROPHON. / THESEUS.; lines 8505-8590 confidence: high
At Naxos, Dionysus appears to Theseus in a dream and says the Fates have decreed Ariadne to be his bride, threatening misfortunes if Theseus refuses.
Dionysus appears in a dream and states that Ariadne is fated to be his bride, after which she is left on Naxos and wooed by him.
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Myths and Legends of Ancient Greece and Rome PHOEBUS-APOLLO. / ROMAN APOLLO. / HECATE. / SELENE (LUNA).; lines 2762-2780 confidence: high
Selene admires Endymion, a beautiful shepherd granted eternal youth and voluntary sleep by Zeus; seeing him asleep on Mount Latmus, she descends nightly from heaven to watch over and protect him.
Selene admires Endymion's beauty and descends every night from heaven to watch over and protect him.
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Myths and Legends of Ancient Greece and Rome PHOEBUS-APOLLO. / ROMAN APOLLO. / HECATE. / SELENE (LUNA).; lines 2762-2780 confidence: high
Endymion is a beautiful young shepherd to whom Zeus granted eternal youth and the ability to sleep whenever and as long as he wished.
Selene admires the beautiful shepherd Endymion and descends nightly from heaven to watch over and protect him while he sleeps.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1081-1171 confidence: high
Zeus is said to have mortal consorts whom he visited under various disguises because revealing himself as king of heaven would destroy mortals; named mortal consorts include Antiope, Leda, Europa, Callisto, Alcmene, Semele, Io, and Danae.
Zeus is said to visit mortal maidens under disguises; examples include satyr, swan, and white bull forms.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1081-1171 confidence: high
Europa, daughter of Agenor, gathers flowers near the seashore; Zeus becomes a beautiful white bull, Europa crowns and mounts it, and the disguised god carries her across the sea to Crete.
Zeus becomes a white bull, Europa mounts him, and he carries her across the sea to Crete.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1081-1171 confidence: high
Zeus is described as also allied to mortal maidens, whom he visited under disguises because his true form would destroy mortals; Antiope, Leda, Europa, Callisto, Alcmene, Semele, Io, and Danae are listed.
The passage states that Zeus visited mortal maidens under disguises and gives examples of satyr, swan, and bull forms used with Antiope, Leda, and Europa.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1173-1257 confidence: high
Callisto, daughter of Lycaon and attendant of Artemis, is approached by Zeus in Artemis's form, changed into a bear by Hera, killed by Artemis, and placed among the stars by Zeus as Arctos.
Zeus appears in the form of Artemis to Callisto, assumes Amphytrion's form with Alcmene, and appears to Danae as a shower of gold.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1173-1257 confidence: high
Callisto, daughter of Lycaon and attendant of Artemis, is approached by Zeus in Artemis's form, changed into a bear by Hera, killed by Artemis, and placed among the stars by Zeus as Arctos.
Hera changes Callisto into a bear, deceives Semele into a fatal request, and obtains, guards, and torments Io.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1173-1257 confidence: high
Callisto, Artemis' huntress attendant, is approached by Zeus in Artemis' form; Hera changes her into a bear; Artemis hunts her; Zeus places her among the stars as Arctos after death.
Zeus approaches Callisto under Artemis' form, Alcmene under Amphitryon's form, and Danae as a shower of gold.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1173-1257 confidence: high
Callisto, Artemis' huntress attendant, is approached by Zeus in Artemis' form; Hera changes her into a bear; Artemis hunts her; Zeus places her among the stars as Arctos after death.
Hera changes Callisto, engineers Semele's death, and persecutes Io with custody and a gadfly.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 1173-1257 confidence: high
Hera, disguised as Beroe, persuades Semele to ask Zeus to appear in full power; Zeus swears by the Styx, reveals himself with thunder and lightning, and Semele is consumed in flames.
Semele asks Zeus to appear in full divine glory and is consumed when he reveals himself with thunder and lightning.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 986-1079 confidence: high
Leto, loved by Zeus, is persecuted by jealous Hera, who sends Python to torment her; Zeus brings Leto to Delos, fixes the floating island to the sea-bottom with adamant chains, and Leto gives birth there to Apollo and Artemis.
Leto is loved by Zeus but persecuted by jealous Hera, wanders in fear, and is given a refuge by Zeus at Delos.
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Myths and Legends of Ancient Greece and Rome RHEA (OPS). / DIVISION OF THE WORLD. / THEORIES AS TO THE ORIGIN OF MAN. / THIRD DYNASTY--OLYMPIAN DIVINITIES.; lines 986-1079 confidence: high
Leto is loved by Zeus, persecuted by jealous Hera, and tormented by the serpent Python sent by Hera.
Hera sends Python, a dreadful serpent, to terrify and torment Leto, who is loved by Zeus and later gives birth on Delos.
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Myths and Legends of Ancient Greece and Rome SECOND DYNASTY. / CRONUS (SATURN). / SATURN. / RHEA (OPS).; lines 651-698 confidence: medium
Cybele loves the beautiful youth Atys; he proves faithless and is about to marry Sagaris when the goddess's rage causes panic, madness, mountain flight, and his self-destruction.
Cybele loves Atys, who is faithless and about to marry Sagaris; divine rage leads to his flight, death, and ritual mourning/search.
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Myths and Legends of Ancient Greece and Rome SECOND DYNASTY. / CRONUS (SATURN). / SATURN. / RHEA (OPS).; lines 651-698 confidence: high
The Cretans interpret winter’s yearly disappearance of vegetation, fading flowers, and leafless trees through the figure of a lost love.
The passage says the yearly winter fading of flowers and leafless trees was poetically expressed as the goddess’s lost love for Atys.
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Myths and Legends of Ancient Greece and Rome THEMIS. / VESTA. / CERES. / APHRODITE (VENUS).; lines 1878-1983 confidence: high
Aphrodite loves Adonis, places the motherless child in a chest, entrusts him to Persephone, and Zeus divides his year between Persephone, Aphrodite, and his own disposal.
Adonis is beloved by Aphrodite, claimed by Persephone, killed by a boar, and then allowed to spend six months each year with Aphrodite and half in the lower world.
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Myths and Legends of Ancient Greece and Rome VENUS. / HELIOS (SOL). / EOS (AURORA). / PHOEBUS-APOLLO.; lines 2365-2439 confidence: high
Apollo’s love affairs are said to be rarely happy, either rejected or ending with fatal consequences.
The passage frames Apollo’s loves as repeatedly repulsed or disastrous, including Daphne, Marpessa, Cassandra, and Coronis.
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Myths and Legends of Ancient Greece and Rome VENUS. / HELIOS (SOL). / EOS (AURORA). / PHOEBUS-APOLLO.; lines 2365-2439 confidence: high
Zeus rules that Marpessa must choose between Apollo and Idas; she chooses the mortal Idas because he will grow old with her and be less likely to forsake her.
Marpessa chooses Idas over Apollo because a mortal husband will grow old with her.
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Myths and Legends of Ancient Greece and Rome VENUS. / HELIOS (SOL). / EOS (AURORA). / PHOEBUS-APOLLO.; lines 2365-2439 confidence: high
Apollo is said rarely to have been happy in love; his advances are repulsed or his unions end fatally.
The passage frames Apollo's love affairs as repeatedly repulsed or fatal, then gives Daphne, Marpessa, Cassandra, and Coronis as examples.
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Myths and Legends of Ancient Greece and Rome VESTALIA. / PART II.--LEGENDS. / CADMUS. / PERSEUS.; lines 6633-6734 confidence: high
Perseus is introduced as son of Zeus and Danae; an oracle warns Acrisius about Danae's son, Acrisius confines her in a brass tower, and Zeus descends as a shower of gold.
Danae is shut in a brass tower, yet Zeus reaches her in the form of a shower of gold and she becomes his bride, leading to Perseus' birth.
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Myths and Legends of Ancient Greece and Rome VICTORIA. / HERMES (MERCURY). / MERCURY. / DIONYSUS (BACCHUS).; lines 4043-4125 confidence: high
Dionysus lands at Naxos, finds Ariadne abandoned by Theseus and asleep on a rock, reveals himself, comforts her, and she consents to become his wife.
Ariadne is abandoned at Naxos, Dionysus reveals himself and consoles her, and she consents to become his wife.
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Myths and Legends of Ancient Greece and Rome VICTORIA. / HERMES (MERCURY). / MERCURY. / DIONYSUS (BACCHUS).; lines 4043-4125 confidence: medium
Dionysus asks to be landed at Naxos, finds Ariadne asleep on a rock after Theseus abandoned her, consoles her, and she agrees to become his wife.
Ariadne, abandoned by Theseus on Naxos, is comforted by Dionysus and consents to become his wife.
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Myths and Legends of Ancient Greece and Rome WATER NYMPHS. / OCEANIDES, NEREIDES, AND NAIADES. / OCEANIDES. / THE NEREIDES.; lines 5342-5365 confidence: medium
The passage names Thetis, wife of Peleus; Amphitrite, spouse of Poseidon; and Galatea, beloved of Acis, as the best known Nereides.
The passage identifies Thetis as wife of Peleus, Amphitrite as spouse of Poseidon, and Galatea as beloved of Acis.
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Myths and Legends of Ancient Greece and Rome WATER NYMPHS. / OCEANIDES, NEREIDES, AND NAIADES. / OCEANIDES. / THE NEREIDES.; lines 5342-5365 confidence: medium
The passage names Thetis, Amphitrite, and Galatea as the best-known Nereides and identifies them respectively as wife of Peleus, spouse of Poseidon, and beloved of Acis.
The passage names Thetis as wife of Peleus, Amphitrite as spouse of Poseidon, and Galatea as beloved of Acis.
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germanic
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Teutonic Mythology, Volume 1 AFFLICTED. UNBORN. 389 / NURSED BY ANIMALS. 301 / HORSES, AGE. 393 / ABODES. 305; lines 19338-19393 confidence: medium
"Brunhild towers above Siegfried, and the swan-maid above the hero to whom she unites herself"
Brunhild is said to tower above Siegfried, and the swan-maid above the hero to whom she unites herself.
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Teutonic Mythology, Volume 1 EOR, SAXNOT, CHERU. 203 / CHAPTEE X. / FRO, (FEEYR). / FRO. 211; lines 10457-10543 confidence: medium
Fro's godhead is said to stand between supreme lordship and a being who brings about love and fruitfulness; he has Wuotan's creative quality, performs no deeds of war, and gives away horse and sword out of longing for Gerdr.
Freyr gives away horse and sword when consumed with longing for fair Gerdr.
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Teutonic Mythology, Volume 1 FIGUEK 387 / AFFLICTED. UNBORN. 389 / NURSED BY ANIMALS. 301 / HORSES, AGE. 393; lines 19248-19336 confidence: medium
The passage says heroes are enfeebled by union with goddesses and superhuman females; it cites Anchises after embracing Aphrodite, Aphrodite's warning of accelerated age, Zeus's thunderbolt if he boasts, and Staufenberger with the sea-fairy as a similar case.
The passage states this pattern generally and illustrates it with Anchises/Aphrodite and Staufenberger/sea-fairy.
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Teutonic Mythology, Volume 1 HERODIAS, DIANA, ABUNDIA. 287 / HRUODA, OSTARA. 289 / FRIKKA. FKOUWA, 001 / FRIKKA. FROUWA. 303; lines 14938-15023 confidence: medium
The passage compares Priye for Aphrodite with words for love, lover, and friend, and discusses whether the name means Freyja as goddess of love and fruitfulness or Frigg as divine mother and marriage patron; it also describes Prithvi as Terra mater, source of fruit and increase.
The passage says Priye must have meant either Freyja as goddess of love and fruitfulness or Frigg as divine mother and patroness of marriage; related terms of love and friendship are listed.
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Teutonic Mythology, Volume 1 HERODIAS, DIANA, ABUNDIA. 287 / HRUODA, OSTARA. 289 / FRIKKA. FKOUWA, 001 / FRIKKA. FROUWA. 303; lines 15025-15107 confidence: high
Freyja has a husband or man named Odr who forsakes her; she seeks him through the world while weeping golden tears; Syritha in Saxo likewise seeks Othar.
Freyja is forsaken by Odr and searches for him through the world while weeping; Syritha is cited as a similar searcher for Othar.
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Teutonic Mythology, Volume 1 HERODIAS, DIANA, ABUNDIA. 287 / HRUODA, OSTARA. 289 / FRIKKA. FKOUWA, 001 / FRIKKA. FROUWA. 303; lines 15197-15281 confidence: high
Gerdr is Freyr's beloved and later wife, of giant breed yet counted among the Asynjor; Freyr sees her from heaven entering a house, air and water shine from her arms, and the wooing succeeds through Skirnir.
Gerdr is Freyr's beloved and later wife; Freyr's wooing is thwarted but brought to success by Skirnir.
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Teutonic Mythology, Volume 1 HOLDA, HOLLE. 265 / UOLDA, IIOLLE. 267 / HOLD A, HOLLE. 2C9 / HOLUA, HOLLE. 271; lines 13342-13438 confidence: medium
The passage notes Norse material: Snorri's wise woman Hildr and a later Icelandic saga's enchantress Hulda, beloved of Odin and mother of Thorgerdr and Irpa.
A later Icelandic saga is summarized as describing Hulda as an enchantress beloved of Odin and mother of Thorgerdr and Irpa, who are called half-goddesses.
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Teutonic Mythology, Volume 1 HORSES, AGE. 393 / ABODES. 305 / WISE WOMEN. 1597 / WISE WOMEN. 399; lines 19491-19621 confidence: medium
Middle High German romance examples describe men gaining new strength, courage, or endurance from a woman's presence, sight, love, or remembrance.
The passage repeatedly links a woman or beloved with renewed strength or victory and then relates this pattern to semi-divine female helpers such as Kraka and a valkyrja.
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Teutonic Mythology, Volume 1 IKMIX. IRING. 3G1 / MARSO. SUAPO. 363 / HERCULES. ULYSSES. 365 / GOZ. FROGER. 367; lines 17948-18043 confidence: medium
Odin under the name Bolverkr becomes servant to the giant Baugi to get at the divine drink kept by Suttungr and guarded by Gunnlod; love-passages between Odin and Gunnlod are noted, as are three nights he spent with the giant’s daughter, though no resulting heroes are named.
Odin’s association with Gunnlod, Freyr’s wooing of Gerd, Odin’s son Saemingr by Skadi, and Bous by Rinda all present divine relationships with women outside ordinary human genealogy, especially giant women in the cases of Gunnlod, Gerd, and Skadi.
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Teutonic Mythology, Volume 1 IMMORTALITY'. 319 / STRENGTH. PRECOCITY. SIZE. 321 / SUAPE. ANGER. 323 / FLIGHT. VEHICLES. HORSES. 327; lines 16181-16264 confidence: medium
The author considers valkyries, like Servian vily, who favor and shield beloved heroes in battle and can produce clouds and hail; he also compares tarnkappes and helidhelms as having the same effect as mist.
The passage describes valkyries and vily as favoring and shielding beloved heroes, Norse gods taking part with or against heroes, and Greek gods counseling or defending selected heroes.
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Teutonic Mythology, Volume 1 KIKDU. 217 / FRO. 219 / CHAPTEE XI. / PALTAR (BALDER).; lines 10876-10912 confidence: medium
Eddic summary: the pure blameless deity is struck with Mistiltein by blind Hoðr, goes down to the nether world, is bewailed by all, cannot be fetched back, and Nanna follows him in death.
Nanna, described as Balder's true wife, follows him in death.
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Teutonic Mythology, Volume 1 KORNI. WALACHUKIUN. 417 / UILD. GUND. DRUD. 423 / WALACHURIUN. 425 / SWAN-MAIDENS. 427; lines 20938-21031 confidence: medium
Kara appears as an enchantress in swan-shift, hovers above Helgi singing, helps him conquer, and falls when Helgi cuts off her foot, after which his luck is spent.
Kara, in swan-shift, assists Helgi in victory until he wounds her, after which she falls and his luck is spent.
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Teutonic Mythology, Volume 1 NORNI. FATAE. 411 / NORNI. FATAE. 413 / NOKNI. 415 / KORNI. WALACHUKIUN. 417; lines 20556-20648 confidence: medium
A white-clad maiden sitting on a stone has watched over the knight unseen in danger and war since youth, becomes his love, appears whenever he wishes for her, moves swiftly by superhuman power, and forbids him to take a wedded wife on pain of death in three days.
The Staufenberger maiden becomes the knight's love and is present whenever he wishes for her.
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Teutonic Mythology, Volume 1 NORNI. FATAE. 413 / NOKNI. 415 / KORNI. WALACHUKIUN. 417 / UILD. GUND. DRUD. 423; lines 20755-20841 confidence: high
The Sæmundar Edda is said to name valkyries such as Svava, Sigrlinn, Kara, Sigrun, and Sigrdrifa as lovers or wives of heroes and as daughters of kings.
The passage repeatedly presents valkyries as lovers, wives, or betrotheds of heroes and as beings who give victory, protection, and rescue.
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Teutonic Mythology, Volume 1 NORNI. FATAE. 413 / NOKNI. 415 / KORNI. WALACHUKIUN. 417 / UILD. GUND. DRUD. 423; lines 20755-20841 confidence: medium
In the Volundarqvida, Hladgudr svanhvit, Hervor alvitr, and Olrun appear together, unite with Slagfidr, Volundr, and Egill, live with them seven years, and then leave to pursue war again.
The passage says unions of half-goddesses with heroes were detrimental, bringing early death or harm to heroes and short life to Sigrun.
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Teutonic Mythology, Volume 1 NURSED BY ANIMALS. 301 / HORSES, AGE. 393 / ABODES. 305 / WISE WOMEN. 1597; lines 19396-19488 confidence: medium
When the hero in battle looked upon, thought of, or named his love, the passage says his strength increased and victory was assured.
The passage says a hero in battle increases in strength and is sure of victory when he sees, thinks of, or names his love; a cited poem says seeing Enite helps a man fight hard.
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Teutonic Mythology, Volume 1 SWAN-MAIDENS. 427 / SWAN-MAIDENS. 429 / WOOD-WIVES. 431 / WOOD-WIVES. MENNI. 433; lines 21253-21346 confidence: medium
A huntsman in the wood starts a dark-brown maid, hails her as a wild beast, and his mother does not accept the bride.
The passage gives forest or wood encounters with a dark-brown maid, the infantina, Rauhe Els/Sigeminne, and later fairy lovers; several are framed through bride, consent, husband, or lover language.
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Teutonic Mythology, Volume 1 SWAN-MAIDENS. 429 / WOOD-WIVES. 431 / WOOD-WIVES. MENNI. 433 / MENXI. MERIMANNI. 435; lines 21349-21433 confidence: medium
Aachen legend: Charlemagne has a fata/nymph/dea/dryad; she lives when he approaches and dies when he leaves; a gold grain is cut from her tongue and she dies permanently. A later variant uses a ring removed by Turpin and thrown into a lake that attracts the king; the note interprets this as a wild-woman or mermaid united with a Christian hero.
The Aachen legend is explicitly interpreted as a popular belief about the union of a wild-woman or mermaid with a Christian hero, here Charlemagne.
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Teutonic Mythology, Volume 2 VOL. 11. O / DUES, THURS. 521 / HUN. 523 / ENT. GIGANT. RISO. 525; lines 4520-4603 confidence: high
The passage lists divine-giant unions and kinship: Njordr with Skadi, Thor with Jarnsaxa, Freyr with Gerd, Odin and Gunnlod, Gefiun bearing sons to a giant, Borr wedding Bestla, and Loki as son of Farbauti with Angrboda as wife.
The passage lists gods married to giantesses, Odin's giantess beloved, offspring between a goddess and a giant, and divine kinship through giant women.
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Teutonic Mythology, Volume 3 HOARD LIFTED : WISHING-ROD. / TRANSLATION. / HOARD GUARDED I DOG. / VOL. III. G; lines 6590-6640 confidence: medium
Union with goddesses, wise-women, and white-women is said to endanger heroes; winning the hoard brings misfortune, and lifting treasure brings early death.
The passage states that union with goddesses, wise-women, and white-women results in danger to heroes.
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Teutonic Mythology, Volume 3 VOL. III. 899 B / POETRY. / A DEINK. OD-HBCEEI. / SONG-KAISEB? INSPIRATION.; lines 2848-2911 confidence: medium
Freyja’s husband Oðr is said to be sought through the world and mourned with golden tears; the author suggests he may personify poetic art and asks whether he was the same as Kvasir, who travelled the world and was murdered by dwarfs.
Freyja seeks her husband Oðr through the world and weeps golden tears for him.
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Teutonic Mythology, Volume 4 AGE. ABODES. ARMS. AID. 1385 / CHAPTER XV. / HEROES. / HEROES. 1387; lines 5495-5601 confidence: medium
The passage states that heroes derive lineage from gods and are friends of the gods, then lists examples involving Odin, Zeus, Jupiter, Dite, spirits, Elberich, an elf, and the devil.
The passage states that heroes are friends of the gods and cites Zeus loving Hector and Ajax, friends of Ares, and a friend of Frey.
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Teutonic Mythology, Volume 4 DEATH. 1555 / DEATH. 1557 / DEATH. 1559 / DESTINY AND WELL-BEING. 1561; lines 13943-14056 confidence: medium
“a union with goddesses and fays makes men unhappy”
The passage states that union with goddesses and fays makes men unhappy.
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Teutonic Mythology, Volume 4 FRO (FREYR). / CHAPTER XII. / OTHER GODS. / OTHER GODS. 1361; lines 4330-4416 confidence: medium
On Rindr/Riadr and Odin: the passage says Yggr won Rindr's love by incantations.
The passage states that Yggr/Odin won Rindr's love by incantations.
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Teutonic Mythology, Volume 4 GODS. 1325 / CHAPTER VII. / WODAN. / WODAN.; lines 2562-2658 confidence: medium
The passage lists Odin's names Herjann, Herteitr, and Gunnarr, and cites slain figures lying on sand as dedicated to the one-eyed figure who is associated with Frigg's embraces.
The passage says Wodan and Frea in an older setting recall Odin and Frigg, and it also refers to the one-eyed figure in relation to Frigg's embraces.
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Teutonic Mythology, Volume 4 NANNA. FUOGE. RAN. HEL. 1375 / CHAPTER XIY. / CONDITION OF GODS. / FOOD. IMMORTALITY. 1377; lines 5020-5115 confidence: medium
The beauty of goddesses is said to be attested by giants and dwarfs seeking them: Thrymr wants Freyja, Thiassi Idun, and dwarfs demand Freyja's last favor.
The beauty of goddesses is supported by examples of giants and dwarfs seeking Freyja and Idun.
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Teutonic Mythology, Volume 4 SKY AND STARS. 1499 / SKY AND STARS. 1501 / VOL. JV. Q / SKY AND STARS. 1503; lines 11231-11327 confidence: high
Kotar is described as a herdsman beloved by the goddess Triglava, who put him in the moon; the passage also notes Finnish, Estonian, and Mordvin lunar terms and a moon pursuer.
Kotar is explicitly called a herdsman beloved by the goddess Triglava, who put him in the moon.
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Teutonic Mythology, Volume 4 SPELLS. 1859 / SPELLS. 1861 / SPELLS. 18G3 / SPELLS. 1865; lines 31147-31254 confidence: medium
The speaker crosses a threshold, takes Jesus as companion, calls God the speaker’s shoe, heaven the speaker’s hat, and the holy cross the speaker’s sword, and asks that whoever sees or hears the speaker love and value them.
The German charm asks that whoever sees or hears the speaker on that day should love and value the speaker, with Jesus as companion and divine equipment invoked.
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Teutonic Mythology, Volume 4 THUNAR. 1315 / THUNAR. 1347 / CHAPTER X. / FRO (FREYR).; lines 3959-4060 confidence: medium
According to Saxo, Hother is son of Hothbrodus, king of Sweden, and brother of Atislus; Nanna is daughter of Gevarus, is no goddess, and rejects the divine Balder’s suit on that ground.
Nanna rejects Balder’s suit because he is divine, and Saxo’s narrative gives Nanna to Hother, who later mortally wounds Balder.
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Teutonic Mythology, Volume 4 WIGHTS AND ELVES. 1413 / WIGHTS AND ELVES. 1415 / WIGHTS AND ELVES. 1417 / WIGHTS AND ELVES. 1419; lines 7079-7173 confidence: medium
Elberich overpowers a queen and begets Otnit; an alb begets Hogiu; dwarfs carry off human brides and fall in love with goddesses such as Freya.
Dwarfs carry off human brides, love goddesses such as Freya, and Elberich or an alb beget heroes or named offspring.
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Teutonic Mythology, Volume 4 WOMAN-WORSHIP. 1397 / ITIS (DIS). ALRUNA. NORN. 1399 / NORN. FAY. FATA MORGANA. 1401 / FATES. FAYS. VALKYRS, 1403; lines 6392-6428 confidence: high
The passage says such unions often prove unlucky; the husband may be forbidden to ask the celestial bride her name, or separation follows. It names the elfin, Melusina, swan-knight, goddess Ganga married to Santanu, and the ghostly vila in this comparative context.
The passage says the husband of a celestial bride must often not ask her name, or separation follows, and lists several parallels.
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Teutonic Mythology, Volume 4 WOMAN-WORSHIP. 1397 / ITIS (DIS). ALRUNA. NORN. 1399 / NORN. FAY. FATA MORGANA. 1401 / FATES. FAYS. VALKYRS, 1403; lines 6392-6428 confidence: medium
The passage says such unions often prove unlucky; the husband may be forbidden to ask the celestial bride her name, or separation follows. It names the elfin, Melusina, swan-knight, goddess Ganga married to Santanu, and the ghostly vila in this comparative context.
The passage frames unions with a celestial bride, goddess Ganga, and the ghostly vila as supernatural unions that may prove unlucky or dangerous.
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native american plains
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Blackfoot Lodge Tales S8 STORIES OF ADVENTURE / TWO WAR TRAILS 89 / STORIES OF ANCIENT TIMES / SCARFACE; lines 4083-4167 confidence: high
The girl says: “That Above Person, the Sun, told me, ‘Do not marry any of those men, for you are mine.’” Her father replies that it must be as the Sun says.
The girl says the Sun told her not to marry human suitors because she is his.
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Blackfoot Lodge Tales SCARFACE / SCARFACE 95 / SCARFACE 97 / SCARFACE 99; lines 4361-4485 confidence: medium
Scarface tells the Moon that he came from his people to ask the Sun for the beautiful girl he wants to marry because she belongs to the Sun.
Scarface seeks a girl who belongs to the Sun, and the Sun gives her to him after Scarface's service.
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Blackfoot Lodge Tales STORIES OF ANCIENT TIMES / SCARFACE / SCARFACE 95 / SCARFACE 97; lines 4265-4358 confidence: medium
"She whom I would marry," said Scarface, "belongs to the Sun; I am trying to find where he lives, to ask him for her."
Scarface journeys to find the Sun, because the woman he wants to marry belongs to the Sun and he wants to ask for her.
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Blackfoot Lodge Tales TWO WAR TRAILS 89 / STORIES OF ANCIENT TIMES / SCARFACE / SCARFACE 95; lines 4170-4262 confidence: medium
The young woman says, “The Sun has spoken to me,” says she belongs to him and may not marry, and tells Scarface to go to the Sun, ask for her, and have the scar removed as a sign.
The young woman reports that the Sun has told her she may not marry and that she belongs to him.
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Gros Ventre Myths and Tales GROS VENTRE MYTHS AND TALES. / CONTENTS. / INTRODUCTION. / MYTHS AND TALES.; lines 2064-2107 confidence: medium
The Sun and Moon discuss a competition; the Sun says that after setting he will go to earth, get Frog, and bring her up as his wife.
The Sun brings Frog from earth as wife, and the Moon selects an earthly woman who is brought into the sky household and seated beside him.
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Gros Ventre Myths and Tales GROS VENTRE MYTHS AND TALES. / CONTENTS. / INTRODUCTION. / MYTHS AND TALES.; lines 2494-2562 confidence: medium
Two women lie outdoors at night; one wishes for the Moon as husband and the other for the smallest star as husband.
A buffalo-bull says he is the one the woman wished for and takes her away after she had wished for the faintest star as husband.
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Gros Ventre Myths and Tales GROS VENTRE MYTHS AND TALES. / CONTENTS. / INTRODUCTION. / MYTHS AND TALES.; lines 2494-2562 confidence: low
In the following tale opening, two girls lie outdoors facing the sky and wish for stars; a star comes down and takes one girl up; the other remains on earth and wishes a passing buffalo-bull were her husband.
The following tale opening repeats the pattern of girls wishing for stars, one being taken upward by a star, and another wishing for a buffalo-bull husband.
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Mythology of the Blackfoot Indians CONTENTS. / INTRODUCTION. / I. TALES OF THE OLD MAN. / II. STAR MYTHS.; lines 3071-3171 confidence: high
Two young women sleep outside and look at the sky; one wishes Morning Star for a husband. Later, while gathering wood, her pack-strap repeatedly breaks and her companion leaves her behind.
Morning Star appears as a man, claims the woman because she wished for him as husband, and takes her into the sky after she consents.
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Mythology of the Blackfoot Indians INTRODUCTION. / I. TALES OF THE OLD MAN. / II. STAR MYTHS. / III. RITUALISTIC ORIGINS.; lines 4601-4713 confidence: high
A girl who has not married hears thunder and says she will marry him. While gathering wood, her packstrap breaks repeatedly; after her mother leaves, a handsome young man appears and says he came because she said she would marry him. The girl says he must be Thunder.
The girl says she will marry Thunder, Thunder comes for her, and she later tells her people that she married him.
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Myths and Traditions of the Crow Indians TALES OF SUPERNATURAL PATRONS . 152 / HISTORICAL TRADITIONS . / INTRODUCTION. / HERO TALES.; lines 2999-3099 confidence: medium
The sky land resembles earth but is better and has good water; a young man in a big tipi says he sent for the woman and wants to marry her; she stays, becomes pregnant, and bears a boy who grows larger every morning.
A young man in a sky tipi says he sent for the woman and wants to marry her; she remains there and bears a child.
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Myths and Traditions of the Crow Indians TALES OF SUPERNATURAL PATRONS . 152 / HISTORICAL TRADITIONS . / INTRODUCTION. / HERO TALES.; lines 5212-5303 confidence: medium
The girl is said to have married the Sun; the boy sleeps with her, asks about her secret, and she tells him she has been married to the Sun for three winters and three summers, warning that the Sun wants to act against them.
The young woman explicitly says she has been married to the Sun for three winters and three summers.
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Myths and Traditions of the Crow Indians TALES OF SUPERNATURAL PATRONS . 152 / HISTORICAL TRADITIONS . / INTRODUCTION. / HERO TALES.; lines 5241-5340 confidence: medium
The woman had been married to Morningstar; at night the Star comes, knows she has been unfaithful, rebukes her, and takes away buffalo, deer, and other animals.
The former sweetheart is said to have been married to Morningstar, and the Star comes at night as her husband.
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Myths and Traditions of the Crow Indians TALES OF SUPERNATURAL PATRONS . 152 / HISTORICAL TRADITIONS . / INTRODUCTION. / HERO TALES.; lines 5306-5405 confidence: medium
The Big Dogs gather and plan to take dried meat; Yellow-Dog enters his former sweetheart's lodge while she works quillwork and advances despite her refusal.
The woman is married to Morningstar, Yellow-Dog disregards her refusal, Morningstar recognizes unfaithfulness, and the removal of animals leads to famine for the people.
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The Pawnee - Mythology (Part I) ABSTRACTS. 497 / ABSTRACTS. 499 / S3. THE DOG-BOY WHO MARRIED THE CHIEF'S DAUGHTER. / ABSTRACTS. SOI; lines 24744-24808 confidence: medium
The wife seeks refuge with beavers, becomes a mole after hot coals are thrown at her, escapes without leaving a trail, is found by the husband as a sun ray, and he is rebuked as a heavenly being mistreating an earthly woman before returning to the sun.
The husband appears as a sun ray, is said to belong in the heavens, and is contrasted with the earthly woman he mistreats.
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The Pawnee - Mythology (Part I) ABSTRACTS. / ABSTRACTS. 475 / BUNDLE. / ABSTRACTS. 477; lines 23524-23562 confidence: high
In “The Girl Who Married a Star,” one of two girls wishes to marry a star and awakens as a star’s wife in a strange country; after bearing a boy she disobeys the warning not to dig turnips, sees earth below, saves animal sinew, and makes a rope to descend with the boy.
A girl wishes to marry a star and awakens in a strange country as the star’s wife.
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The Pawnee - Mythology (Part I) LONG-TONGUE, THE ROLLING HEAD. 33 / LONG-TONGUE, THE ROLLING HEAD. 35 / LONG-TONGUE, THE ROLLING HEAD. 37 / HOW EVENING-STAR S DAUGHTER WAS OVERCOME. 4I; lines 2119-2187 confidence: medium
The helper tells the boy he has killed the bad animals, gives him a stone, and says the girl's vagina is like a rattlesnake mouth with teeth that must be broken so she becomes human.
Morning-Star's power and the helper's stone enable the boy to gain the girl; afterward Morning-Star grants bundles, mysteries, songs, and prosperity obligations.
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The Pawnee - Mythology (Part I) ROBE. / ABSTRACTS. 507 / ABSTRACTS. 509 / ABSTRACTS. 51I; lines 25277-25330 confidence: medium
In vision a man stands at the father’s bed, says he loved and killed the daughter, lost his place in heaven, will remain with the father, and should be made into a soft downy feather bundle; he says he is a medicine-man and will teach power.
A visionary man associated with the stone says he loved the daughter, killed her, lost his place in the heavens, and will remain with the father.
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The Pawnee - Mythology (Part I) THE GAMBLER AND THE GAMING STICKS. I9I / TALES OF READY-TO-GIVE. / S3. THE DOQ'BOY WHO MARRIED THE CHIEF'S DAUGHTER.' / SUN-RAY, WHO MISTREATED HIS WIFE. I95; lines 9649-9736 confidence: medium
Sun-Ray enters the tipi unseen as a sun-ray, puts the woman to sleep in the rattle, becomes a man, and is rebuked as a heavenly being who took and mistreated an earth woman.
Sun-Ray is told he belongs in the heavens, later releases the woman to the village, says he will return where he belongs, and disappears after going back to the sun.
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The Pawnee - Mythology (Part I) THE ORIGIN OF A NEW BAND. 47 / THE ORIGIN OF A NEW BAND. 49 / II. HOW THE PEOPLE GOT THE CROW-LANCE.' / THE ORIGIN OF THE PIPE-STICK CEREMONY. 53; lines 2835-2878 confidence: high
At the beginning of 'The Girl Who Married a Star,' two girls sleep on an arbor in summer; one wishes for a star as husband, sleeps, and wakes in a strange country.
A girl wishes for a star as husband and later lives with a man who is really that Star.
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The Pawnee - Mythology (Part I) THE ORIGIN OF A NEW BAND. 49 / II. HOW THE PEOPLE GOT THE CROW-LANCE.' / THE ORIGIN OF THE PIPE-STICK CEREMONY. 53 / THE GIRL WHO MARRIED A STAR. 57; lines 2881-2970 confidence: high
The passage begins in medias res with a warning not to dig too deep; after living with her husband for a long time, the woman gives birth to a boy.
The passage identifies the woman's husband as Star and later says Star took the mother up and was one of the Star people in the sky.
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The Pawnee - Mythology (Part I) WILLIAMS A WILKINS COMPANY / BALTIMORE, MD. / CONTENTS / MYTHS.; lines 108-324 confidence: medium
Section I, “True Stories of the Heavenly Beings,” lists early titles including “Origin of the Chaui,” “The Four Gods in the West,” “The Four Gods of the North,” “How Evening Star’s Daughter was Overcome,” “Contest between the Morning Star and the Moon,” “Origin of the Basket Dice Game,” “The Girl who Married a Star,” and bundle titles.
Titles name Evening Star’s daughter, a contest between Morning Star and the Moon, a girl who married a Star, a woman in the Moon, and Ready-to-Give as son of Wind.
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Traditions of the Arapaho CONTENTS. / TRADITIONS OF THE ARAPAHO. / I 12 / ABSTRACTS.; lines 24250-24323 confidence: medium
Women gathering firewood see a porcupine climb a tree; one woman climbs after it, the tree lengthens, they reach the sky, and the porcupine takes her to a camp-circle where his parents live.
The woman is taken to the sky and marries or lives as wife of the moon, sun, or porcupine husband in different abstracts.
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Traditions of the Arapaho INTRODUCTION. / CONTENTS. / TRADITIONS OF THE ARAPAHO. / I 12; lines 11009-11099 confidence: medium
The woman wakes at night and finds a young man in an entirely white robe lying with her; she reaches for paint and places her painted hand on his back while embracing him.
A mysterious white-robed night visitor becomes the woman’s lover and is later identified as the Sun and the white dog.
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Traditions of the Arapaho INTRODUCTION. / CONTENTS. / TRADITIONS OF THE ARAPAHO. / I 12; lines 16566-16663 confidence: medium
Tale 134 is titled 'The Porcupine and the Woman who climbed to the Sky.' Sun and Moon are brothers; in a river camp-circle at night, young women say they wish to marry Moon or a bright star.
Young women wish to marry Moon or a bright star; Moon wants a human woman, while Sun says he will choose a water animal for a wife.
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Traditions of the Arapaho INTRODUCTION. / CONTENTS. / TRADITIONS OF THE ARAPAHO. / I 12; lines 17574-17650 confidence: medium
In the sky timber the woman finds a handsome young man, the sun, who takes her as wife; the moon is envious and speaks about the sun bringing an earthly woman up.
The woman is taken as wife by the sun in the main account; a parallel version says the moon marries her.
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Traditions of the Arikara FOOTNOTES: / FOOTNOTES: / FOOTNOTES: / FOOTNOTES:; lines 2067-2172 confidence: medium
The passage includes the note 'Told by Snowbird' and the tale title 'The Girl Who Married a Star.'
The title identifies the tale as the girl marrying a star; within the passage she says she would marry the star, the Star becomes a man, she stays with him, and he is later called her husband.
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Traditions of the Arikara Traditions of the Arikara / TRADITIONS OF THE ARIKARA / CARNEGIE INSTITUTION OF WASHINGTON / CONTENTS.; lines 90-261 confidence: medium
Titles include a girl marrying a star and No-Tongue with the Sun and the Moon.
Two entries are titled 'The Girl Who Married a Star.'
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Traditions of the Caddo ABSTRACTS. / I. THE CREATION AND EARLY MIGRATIONS. / ABSTRACTS. II3 / II. THE GIRL WHO MARRIED A TURTLE.; lines 5547-5560 confidence: medium
The girl watches stars and wishes to become wife of North Star; she sees a very old man by a fireside who tells her she is in his home as his wife.
The girl wishes to become wife of North Star, and the old man tells her she is in his home as his wife.
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Traditions of the Caddo II. THE GIRL WHO MARRIED A TURTLE. / THB GIRL WHO MARRIED A TURTLE. 25 / BVENING-STAR AND ORPHAN-STAR. 27 / THB GIRL WHO MARRIBD A STAR. 29; lines 1386-1478 confidence: high
At night outside the lodge, the girl sees the bright North Star, prays to marry it, then finds herself by a fireside with an old man who says she is now in his home as his wife.
The girl prays to marry the bright North Star, and the old man in the Star's home tells her she is now his wife.
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Traditions of the Caddo THB ORIGIN OP THB MBDICINB-MBN. 21 / II. THE GIRL WHO MARRIED A TURTLE. / THB GIRL WHO MARRIED A TURTLE. 25 / BVENING-STAR AND ORPHAN-STAR. 27; lines 1293-1383 confidence: high
A maiden wishes a watched star would become a man and marry her; she wakes to an old man by the fireside saying her wish is granted and he is the Star.
The maiden wishes to marry a star and wakes as the wife of the Star in the sky.
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Traditions of the Skidi Pawnee ON-FOREHEAD.178 / FOX (SKIDI WARRIOR) / I 2 I / MONSTER.208; lines 8951-9059 confidence: medium
The young man goes to the chief’s tipi, tells the girl he is her husband and has turned into a man, and lies beside her under a painted robe while she is afraid.
The young man is a husband within the village and later states that he is from the sky and married among the people.
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Traditions of the Skidi Pawnee SKIDI IN FRONT OF EARTH LODGE / TRADITIONS. / BUNDLES / II. THE MORNING-STAR BUNDLES.108; lines 3442-3529 confidence: medium
Two girls sleep on a specially built arbor; one points to a big bright star in the southeast and says she wishes it were her husband.
A mortal girl wishes a star were her husband; the star hears the wish, takes her up to his home, refuses to return her, and she eventually lives with him.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15456-15626 confidence: medium
The speaker says to stain the prayer-mat with wine if the aged Magian bids it, because the traveller from the Pathway knows every stage and usage.
The speaker refers to the Pathway, a traveller who knows its stages, remaining near Him, finding the Loved one, and leaving the world behind.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15628-15807 confidence: high
The beloved's love makes Rizvan's bright gardens fresher, while the heat kindled by absence makes Gehenna's flames glow more intensely.
The beloved's love and absence affect Rizvan's gardens and Gehenna, while Heaven, the Tuba-tree, a celestial river, and Empyrean portals orient toward the beloved.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15628-15807 confidence: medium
The speaker says memory should recall Union's days and asks where the beloved's anger and coquettish ways are.
The speaker remembers Union's days and treats dust from the beloved's threshold as balm, saying calm depends on the beloved's presence.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15628-15807 confidence: medium
"O thou whose locks hold fast on fetters so many a soul known long ago..."
The beloved's locks are described as fetters that hold many souls.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15809-15909 confidence: medium
Opening lyric: amorous persons and zealots are drunk with rapture under the addressee's sway; the addressee's lips, veil, face, and fragrance are praised; the rose responds with fire and dew; Hfiz is overwhelmed in misfortune's sea and threatened by death.
The speaker commands the addressee to fling back the veil, while describing the addressee as the source of beauty, fragrance, and inner devotion.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15809-15909 confidence: medium
Opening lyric: amorous persons and zealots are drunk with rapture under the addressee's sway; the addressee's lips, veil, face, and fragrance are praised; the rose responds with fire and dew; Hfiz is overwhelmed in misfortune's sea and threatened by death.
The passage says amorous persons and zealots are drunk with rapture, and personified Love possessed the speaker's soul as master and bent his nature toward wine.
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Persian Literature, Volume 1 BY HFIZ / INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN; lines 15809-15909 confidence: medium
The speaker says the beloved is taintless, Majnun is no more, each turn will end, love's realm comes from the beloved's bounty, speaker and heart may be sacrificed for the friend's welfare, the beloved's form dwells in the eye, blooms gain scent and color from him, and Hfiz's breast enshrines love as treasure.
The beloved's form is housed in the eye's cell, and Hfiz's breast is described as a shrine holding love as treasure.
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Persian Literature, Volume 1 CLVII / CLXVI / CLXXIII / CLXXX; lines 16901-16982 confidence: medium
Majnn is glossed as a celebrated lover maddened by the charms of Lail.
Majnn is maddened by Lail’s charms, and a separate note defines the true lover as one who loves God.
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Persian Literature, Volume 1 CLVII / CLXVI / CLXXIII / CLXXX; lines 16901-16982 confidence: medium
The wild tulip of Shiraz has a dark central mark compared to a love-brand preordained on the Past Day of Eternity for Hfiz’s heart.
The tulip mark is compared to a brand of love preordained on the Past Day of Eternity for Hfiz’s heart.
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Persian Literature, Volume 1 CLVII / CLXVI / CLXXIII / CLXXX; lines 16901-16982 confidence: high
Aiman is the valley where God appeared to Moses and is metaphorically the abode of the Beloved.
Aiman is the valley where God appeared to Moses and is metaphorically the Beloved’s abode.
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Persian Literature, Volume 1 CXLIX / CLVII / CLXVI / CLXXIII; lines 16743-16766 confidence: medium
"With my heart's blood I wrote to one most dear"; the earth seems doom-struck if the beloved is not near.
The beloved's absence produces signs of woe, the speaker seeks her boon and grace, and the closing request is framed as a prayer.
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Persian Literature, Volume 1 CXLVI / CXLIX / CLVII / CLXVI; lines 16715-16740 confidence: low
"Knowest thou what fortune is? / 'Tis Beauty's sight obtaining; / 'Tis asking in her lane for alms, / And royal pomp disdaining."
Fortune is defined as seeing Beauty, begging in her lane, and disdaining royal pomp.
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Persian Literature, Volume 1 CXXIX / CXXXIV / CXXXV / CXLVI; lines 16582-16605 confidence: low
"O thou who hast ravished my heart"; the addressee is also said to be one from whom no soul can escape.
The addressee ravishes the speaker's heart, is said to be inescapable to souls, and has taken the heart while the speaker offers the soul.
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Persian Literature, Volume 1 CXXXIV / CXXXV / CXLVI / CXLIX; lines 16608-16643 confidence: medium
"Both worlds, the Transient and Eterne, for Sk and the Loved I'd yield"; the universe appears as Love's field.
The speaker says he would yield both transient and eternal worlds for Sk and the Loved and would not esteem his own life above his friend.
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Persian Literature, Volume 1 CXXXIV / CXXXV / CXLVI / CXLIX; lines 16608-16643 confidence: low
The speaker views the beloved's brow, says his cowl burnt up, drains a cup in honor of the sacred Arch, describes pure light from the friend's brow, and sends kisses to a moon image.
The beloved or dear friend's brow sheds pure light and is associated with a moon receiving kisses from afar.
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Persian Literature, Volume 1 CXXXV / CXLVI / CXLIX / CLVII; lines 16646-16712 confidence: medium
The speaker says he is Love's slave and free from both worlds, a bird of sacred gardens caught in the net of chance, angel-born in Highest Heaven, and brought by Adam to a cloister.
The speaker declares himself Love's slave and free from both worlds, then describes service in Love's house of wine.
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Persian Literature, Volume 1 CXXXV / CXLVI / CXLIX / CLVII; lines 16646-16712 confidence: medium
Houris, Tb's shade, and the Fountain's brink fade when the speaker thinks of the beloved's street; no astrologer knows his star of birth, and he asks under what plant Mother Earth bore him.
Houris, Tb's shade, and the Fountain's brink fade from the speaker's mind when he thinks of the beloved's street.
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Persian Literature, Volume 1 INTRODUCTION / FRAGMENT BY HFIZ / THE DIVAN / XXIII; lines 15912-16087 confidence: medium
The speaker lies prone at the friend's high gates and says whatever awaits his head is ordered by the friend's will.
The friend is approached through high gates, a sacred court, door dust, messages, and the speaker's declared servitude.
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Persian Literature, Volume 1 LXXVII / LXXXV / LXXXVI / LXXXVII; lines 16327-16368 confidence: medium
“When beamed Thy beauty on creation's morn, / The world was set on fire by love new-born.”
The addressed beloved’s beauty beams at creation’s morn and the world is set on fire by newly born love; the same fire is linked with Adam’s mould and Reason’s lamp.
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Persian Literature, Volume 1 Persian Literature, Volume 1 / PERSIAN LITERATURE / SPECIAL INTRODUCTION; lines 392-462 confidence: uncertain
Hafiz is described as a thorough Sufi; Shah Shuja is reported as saying he wrote of wine, Sufism, and affection in one song; Sufism is described as veiled language that treats everyday things as symbols of transcendentalism.
The passage says Hafiz writes of an object of affection and that readers may not know whether the love is centered on a mortal being or has a mystic background.
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Persian Literature, Volume 1 THE DIVAN / XXIII / XLIII / LXIII; lines 16198-16305 confidence: medium
"The shrine of my affection holds no Being but my friend."
The heart's shrine holds no Being but the friend, and the speaker says He is equally present wherever the glance falls.
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Persian Literature, Volume 1 THE RUBIYT / THE DIVAN / BY HFIZ / INTRODUCTION; lines 15339-15408 confidence: medium
The passage says life's pleasures, sensory charms, intoxicating draughts, and pleasing fruits are good because God is in each, and partaking of them unites one more closely with God.
The passage says God is present in pleasures and names the nightingale's song, women's bright eyes, and the beaker of crimson wine as sacraments or intermediaries between divine and human life.
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The Persian Literature, Volume 2, The Gulistan XVIII / XXVII / CHAPTER IV / CHAPTER V; lines 2770-2877 confidence: low
Husan Maimandi is asked why Sultan Mahmud loves Ayaz more than his beautiful bondswomen; he answers that what impresses the heart appears lovely to the eye, and the passage adds that desire can make even a demon appear like an angel and cherub.
The holy man calls the beloved his asylum and defence, Husan’s saying compares desire’s object to an angel and cherub, and the master calls the schoolboy a celestial creature.
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The Persian Literature, Volume 2, The Gulistan XVIII / XXVII / CHAPTER IV / CHAPTER V; lines 3065-3158 confidence: medium
A beautiful woman appears in a shaded portico with a goblet of snow-cooled water mixed with sugar and spirit of wine; the narrator drinks it and says he is restored to new life.
The narrator receives a cooling drink from a beautiful woman, says it restores him to new life, and then speaks of intoxication with the cup-bearer, glossed as God.
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The Persian Literature, Volume 2, The Gulistan XVIII / XXVII / CHAPTER IV / CHAPTER V; lines 3065-3158 confidence: medium
A beautiful luminary-like woman appears in a mansion portico with a goblet of snow-cooled water mixed with sugar and spirit of wine; the narrator drinks from her hand and feels restored to new life.
A beautiful woman gives the exhausted narrator a cooled drink, after which he says he is restored to a new life; the following verse links the cup-bearer with God.
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The Persian Literature, Volume 2, The Gulistan XXVII / CHAPTER IV / CHAPTER V / XVIII.; lines 3204-3269 confidence: medium
The young man’s dying speech is admired; the narrator says the lovers’ lives ended, warns against faithless love, instructs devotion of the whole heart to God, and says Laila and Mujnun could read the history of love in this chapter if they returned to life.
After the human love stories, the narrator instructs the hearer to devote the whole heart to the heart-consoler, identified as God, and to close the eyes to the rest of the world.
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The Persian Literature, Volume 2, The Gulistan XXVII / CHAPTER IV / CHAPTER V / XVIII.; lines 3204-3269 confidence: medium
Mujnun says the king should contemplate Laila 'through the wicket of a Mujnun's eye' so that the spectacle's miracle might be shown.
Mujnun claims Laila's charms require the viewpoint of a lover; the narrator later directs whole-hearted devotion to the heart-consoler, identified as God.
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The Persian Literature, Volume 2, The Gulistan XXXVII / XXXVIII / XXXIX / CHAPTER II; lines 1457-1565 confidence: medium
At Balbek, the narrator preaches to an unmoved congregation on the Koranic statement of God's nearness, using images of sparks, humid wood, and a beloved mistress closer than self yet estranged.
The Balbek sermon interprets divine nearness through an intimate beloved or mistress image and produces a strong devotional response in a traveller.
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The Persian Literature, Volume 2, The Gulistan XXXVII / XXXVIII / XXXIX / CHAPTER II; lines 1457-1565 confidence: high
A holy man on the sea-shore, torn by a tiger, thanks the Most High because he has been overtaken by misfortune and not sin, and calls God the beloved friend even in relation to death.
The wounded holy man thanks God that his suffering is misfortune rather than sin and speaks of God as the beloved friend whose causing his death would not make him cling to life.
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The Persian Literature, Volume 2, The Gulistan XXXVII / XXXVIII / XXXIX / CHAPTER II; lines 1457-1565 confidence: medium
At Balbek’s mosque, the narrator preaches to an unmoved congregation, expounding the Koranic line that God is nearer than the neck vein and speaking of a beloved who is close while he is estranged.
The sermon applies a Koranic statement of divine nearness and speaks of a beloved or mistress closer than the speaker is to himself, though he remains alienated.
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egyptian
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Development of Religion and Thought in Ancient Egypt FINAL DECADENCE / THE AGE OF PERSONAL PIETY 345 / THE AGE OF PERSONAL PIETY 347 / THE AGE OF PERSONAL PIETY 349; lines 13043-13127 confidence: medium
The author links personal relation with god to Ikhnaton's declaration, "Thou art in my heart," and says Aton influence and social-justice doctrines culminated in widespread personal piety among the Theban masses.
The passage repeatedly emphasizes intimate personal relation with a god, inner aspiration to God, Ikhnaton's statement that the god is in his heart, and Amon giving breath to those he loves.
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Development of Religion and Thought in Ancient Egypt LIFE AFTER DEATH 67 / LIFE AFTER DEATH 69 / ASCENT TO THE SKY / LECTURE IV; lines 4318-4350 confidence: high
“Behold the son of Re comes, the beloved of Re comes,” says Sehpu, “who was made to come by Honis.”
The proclamation explicitly calls Pepi the son of Re and the beloved of Re.
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Development of Religion and Thought in Ancient Egypt REVELATION TO THE KINQ / THB IMPERIAL AGE AND MONOTHEISM 329 / THE IMPERIAL AGE AND MONOTHEISM 331 / THE IMPERIAL AGE AND MONOTHEISM 333; lines 12480-12545 confidence: high
Aton's earthly agency is the rays of the Sun; hymnic phrases say the rays are on earth, in the great green sea, on the beloved son, make eyes whole, give breath of life, and are the source from which the king came forth and was fashioned.
Aton is father and mother of all he has made; the king is called Aton's child and beloved son, comes forth from Aton's rays, and receives royal jubilees through those rays.
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Development of Religion and Thought in Ancient Egypt THE AGE OF PERSONAL PIETY 349 / THE AGE OF PERSONAL PIETY 351 / THE AGE OF PERSONAL PIETY 353 / THE AGE OF PERSONAL PIETY 355; lines 13289-13354 confidence: medium
'O Amon-Re, I love thee and I have filled my heart with thee'; the speaker expects rescue from 'the mouth of men' speaking lies, and names the deity 'the Lord of Truth.'
The speaker says to Amon-Re, 'I love thee,' and says his heart is filled with the deity.
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Development of Religion and Thought in Ancient Egypt THE AGE OF PERSONAL PIETY 363 / THE AOE OF PERSONAL PIETY 365 / THE AGE OF PERSONAL PIETY 367 / THE AGE OF PERSONAL PIETY 369; lines 13790-13833 confidence: medium
Hadrian's obelisk on the Monte Pineio, in Egyptian hieroglyphs, proclaims the deification of Hadrian's favorite as "Osiris-Antinous" and the enthronement of an ancient Egyptian mortuary god in the palace of the Caesars.
The passage describes a beautiful Greek youth, Hadrian's favorite, being deified as Osiris-Antinous.
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Egyptian Ideas of the Future Life CHAPTER I. / THE BELIEF IN GOD ALMIGHTY. / CHAPTER II. / OSIRIS THE GOD OF THE RESURRECTION.; lines 1307-1386 confidence: medium
Isis learns, through reports attributed to demons, that the chest was carried by sea to Byblos, enclosed by a tamarisk tree, and made into a roof-supporting pillar by the king.
Isis seeks and recovers the chest containing her dead husband, opens it, embraces his corpse, and mourns.
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Egyptian Tales, Translated from the Papyri: Second Series, XVIIIth to XIXth Dynasty THE DOOMED PRINCE / REMARKS / XIXTH DYNASTY / ANPU AND BATA.; lines 766-861 confidence: medium
Pharaoh's scribes and wise men say the lock belongs to a daughter of Ra Harakhti with the essence of every god in her, and advise sending messengers to find her.
The advisers identify the lock as belonging to a daughter of Ra Harakhti with the essence of every god in her, and Pharaoh loves and elevates her.
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Legends of the Gods: The Egyptian Texts, edited with Translations I.--INCANTATIONS AGAINST REPTILES AND NOXIOUS CREATURES IN GENERAL. / ANOTHER CHAPTER. / II.--THE NARRATIVE OF ISIS. / THE HISTORY OF ISIS AND OSIRIS,; lines 5523-5629 confidence: medium
During Osiris's absence, Typhon has no opportunity for innovations because Isis is vigilant in government and on guard.
Isis governs vigilantly while Osiris is away, preventing Typhon from changing the state.
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Legends of the Gods: The Egyptian Texts, edited with Translations I.--INCANTATIONS AGAINST REPTILES AND NOXIOUS CREATURES IN GENERAL. / ANOTHER CHAPTER. / II.--THE NARRATIVE OF ISIS. / THE HISTORY OF ISIS AND OSIRIS,; lines 5523-5629 confidence: medium
Typhon is said to marry Nephthys; Isis and Osiris are said to enjoy each other in their mother's womb, producing Aroueris/Horus the Elder/Apollo in that account.
The passage states that Typhon married Nephthys and that Isis and Osiris had mutual affection and intercourse in the womb, producing Aroueris in that account.
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Legends of the Gods: The Egyptian Texts, edited with Translations I.--INCANTATIONS AGAINST REPTILES AND NOXIOUS CREATURES IN GENERAL. / ANOTHER CHAPTER. / II.--THE NARRATIVE OF ISIS. / THE HISTORY OF ISIS AND OSIRIS,; lines 5717-5799 confidence: high
Isis opens the chest when alone, lays her face on that of her dead husband, embraces him, and weeps bitterly.
Isis embraces and weeps over the dead body of her husband Osiris.
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Legends of the Gods: The Egyptian Texts, edited with Translations PLATE XV. / A LEGEND OF KHNEMU AND OF A SEVEN YEARS' FAMINE. / VIII. / THE HISTORY OF ISIS AND OSIRIS.; lines 1943-2026 confidence: high
Priests told how Isis, as loving and devoted wife, sought Osiris's body after Set murdered him, found and brought it home, revivified it by spells, united with Osiris, and conceived.
Isis is described as a loving and devoted wife who seeks Osiris's body after his murder, finds it, brings it home, and revivifies it.
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume I HATHOR 429 / HATHOR 431 / THE SEVEN HATHORS 433 / HATHOR-APHRODITE 435; lines 21206-21286 confidence: medium
Greeks identified Hathor with Aphrodite; Hathor is described as embodying truth, goodness, ideal womanhood, and patronage of singers, dancers, merry-makers, beautiful women, love, artists, wine, ale, beer, joy, and happiness.
Hathor is described as patron of love, beautiful women, artists, wine, ale, beer, joy, happiness, singers, dancers, and merry-makers, and is explicitly identified by Greeks with Aphrodite.
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume II CHAPTER XI / ISIS AND OSIRIS 187 / ISIS AND OSIRIS 189 / ISIS AND OSIRIS 191; lines 11076-11161 confidence: medium
At a desert place Isis opens the chest, embraces and weeps over her dead husband's corpse, then a hidden boy dies of fright after her fierce look in one account.
Isis, a goddess, embraces the corpse of her dead husband Osiris and weeps over him.
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume II HYMN TO AMEN-RA 9 / HYMN TO AMEN-RA 11 / NESI-KHENSU 13 / NESI-KHENSU 15; lines 1204-1288 confidence: medium
The hymn describes the deity as unknown, a king who makes kings rule and girds the earth, one to whose souls gods and goddesses pay homage, creator of the world by secret counsels, Khepera who is hidden, and possessor of the divine Disk as vicar.
The hymn says gods and goddesses pay homage to the deity and that he is the beloved object of every god.
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume II KHNEMU-SHU 67 / ATEN WORSHIP 69 / THI AND AMEN-HETEP III. / AMEN-HETEP IV. (KHU-EN-ATEN) 71; lines 3916-4006 confidence: medium
To sever connection with Amen-Ra traditions, he discards the name Amen-hetep and calls himself Khut-en-Aten, glossed as 'Glory of Aten' or 'Spirit of Aten.'
The king's authority and identity are expressed through divine titles and name changes linking him to Aten, including 'Mighty Bull, beloved of Aten' and 'Exalter of the name of Aten.'
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume II NAMES OF OSIRIS / Q III / CHAPTER XI / ISIS AND OSIRIS 187; lines 10903-10985 confidence: medium
The passage assigns fathers to the children, marks Typho’s birthday as inauspicious for kings, and describes Typho’s marriage to Nephthys and Isis and Osiris’s union in the womb producing Aroueris.
Isis, previously described as mutually affectionate with Osiris, cuts her hair and dons mourning apparel after the report reaches her.
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The Gods of the Egyptians; or, Studies in Egyptian Mythology, Volume II OR ELYSIAN FIELDS / THE MATERIAL HEAVEN 121 / OSIRIS AS WATER-GOD 123 / ISIS AND OSIRIS 125; lines 6557-6640 confidence: medium
Isis tells her story, requests the roof-supporting pillar, cuts it open, removes the chest and her husband's body, departs with them to Egypt, hides the chest, and seeks Horus.
Isis is identified as Osiris's wife, retrieves his body from the pillar, later searches for and gathers his dismembered fragments, and buries them.
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The Literature of the Ancient Egyptians CHAPTER IV / THE BOOK OF THE DEAD / LITANY / CHAPTER V; lines 2355-2435 confidence: medium
In Isis's speech she calls An or Un-Nefer to his house, says Set has perished, identifies herself as loving sister and beloved, says gods and men weep for him, and says no one loved him more than his sister.
Isis and Nephthys are paired as sisters who call the addressed figure home, weep for him, guard his bier, and protect his members.
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The Literature of the Ancient Egyptians CHAPTER IV / THE BOOK OF THE DEAD / LITANY / CHAPTER V; lines 2437-2501 confidence: medium
The speaker raises arms to protect the beloved husband-brother and describes his hair, body, bones, perfume, and skull using precious stones, alabaster, silver, and myrrh imagery.
The first speaker addresses the divine figure as husband, brother, and lord of love, raises arms to protect him, and asks him to come in peace into his house; Osiris’s sisters also summon him.
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The Literature of the Ancient Egyptians CHAPTER VIII / HISTORICAL LITERATURE / EDICT AGAINST THE BLACKS / CAMPAIGN OF THOTHMES II IN THE SUDAN; lines 3630-3672 confidence: high
The king becomes furious like a panther or leopard, swears by Ra and Amen not to leave any male alive, and sends many soldiers into Nubia in his first war to overthrow rebels and disaffected people.
The king is described as loved by Ra and Amen, as having Amen as father, and as son of Ra; his successful campaign and royal titles support his legitimacy.
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The Literature of the Ancient Egyptians THE AUTOBIOGRAPHY OF TEHUTI, THE ERPA / CHAPTER X / TALES OF TRAVEL AND ADVENTURE / THE STORY OF SANEHAT; lines 5584-5653 confidence: medium
The royal command of Amenemhat/Kheperkara, son of Ra, is sent to the follower Sanehat and recalls his travels from country to country, including Qetem and Thennu.
The king is titled son of Ra and later addressed as a beautiful god, beloved of Ra and favoured of Menthu; Sanehat invokes gods to grant him life, eternity, and dominion.
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The Literature of the Ancient Egyptians THE AUTOBIOGRAPHY OF TEHUTI, THE ERPA / CHAPTER X / TALES OF TRAVEL AND ADVENTURE / THE STORY OF SANEHAT; lines 5655-5743 confidence: high
Sanehat addresses the Palace Majesty, says the king is a great god and counterpart of Ra, and compares the king to Horus with conquering arms.
The king is called counterpart of Ra, like Horus, beloved of Ra, Horus, Hathor, and Menthu, and is described as controlling the Sun Disk, Nile water, air, and the speaker's life-breath.
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The Literature of the Ancient Egyptians THE STORY OF SANEHAT / THE STORY OF THE EDUCATED PEASANT KHUENANPU / CHAPTER XI / FAIRY TALES; lines 6815-6884 confidence: medium
Ra-Harmakhis tells Khnemu to fashion a wife for Bata so he will not live alone; Khnemu makes a wife of surpassing beauty with the essence of every god in her.
Ra-Harmakhis orders Khnemu to fashion a wife for Bata; Khnemu creates a beautiful wife containing the essence of every god, and Bata loves her dearly.
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The Religions of Ancient Egypt and Babylonia CONTENTS / PREFACE. / PART I. THE RELIGION OF ANCIENT EGYPT. / PART II. THE RELIGION OF THE BABYLONIANS.; lines 11226-11314 confidence: high
Istar seeks Tammuz in Hades with the waters of life; the descent poem is sung at Tammuz’s yearly festival; Tammuz is mourned as a young dead god, and an alternate Eridu belief makes him a heavenly gate warder with Nin-gis-zida.
Istar descends to Hades to seek Tammuz, the bridegroom of her youth, hoping to give him the waters of life and bring him back to life and light.
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The Religions of Ancient Egypt and Babylonia CONTENTS / PREFACE. / PART I. THE RELIGION OF ANCIENT EGYPT. / PART II. THE RELIGION OF THE BABYLONIANS.; lines 11400-11488 confidence: high
Istar loves Gilgames and asks him to become her husband, offering a lapis-lazuli and gold chariot, royal homage, and tribute; Gilgames rejects her and cites her cruelty to past lovers.
Istar loves Gilgames, asks him to be her husband, offers gifts and dominion, and is rejected by him.
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The Religions of Ancient Egypt and Babylonia CONTENTS / PREFACE. / PART I. THE RELIGION OF ANCIENT EGYPT. / PART II. THE RELIGION OF THE BABYLONIANS.; lines 11491-11587 confidence: high
Quoted speech says Istar ordained yearly weeping for Tammuz and loved then harmed a wood-pigeon, lion, horse, Tabulu, and Isullanu; Tabulu is changed into a wolf and Isullanu into a column.
Istar is accused of loving multiple figures and then injuring, trapping, constraining, or transforming them, including Tabulu into a wolf and Isullanu into a column.
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The Religions of Ancient Egypt and Babylonia CONTENTS / PREFACE. / PART I. THE RELIGION OF ANCIENT EGYPT. / PART II. THE RELIGION OF THE BABYLONIANS.; lines 8936-9017 confidence: low
Istar’s name is treated as foreign; she takes Baal-like attributes, presides over war and love, is conceived as virgin or unmarried lover, and is linked with Tammuz in the underworld.
Tammuz is identified as Istar’s bridegroom and as banished to the darkness of the underground world.
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mesopotamian
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An Old Babylonian Version of the Gilgamesh Epic Part III / PREFATORY NOTE / INTRODUCTION. / VIII.; lines 1498-1573 confidence: medium
The passage summarizes Ishtar wooing Gilgamesh and his rejection of her, interprets Ishtar as earth wooing the sun, identifies Gilgamesh with a sun-god conception, and notes that he recalls Ishtar's transformation of lovers into animals, compared to Circe.
Ishtar woos Gilgamesh, is rejected, and is described as having brought former lovers to grief by changing them into animals.
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An Old Babylonian Version of the Gilgamesh Epic Part III / PREFATORY NOTE / INTRODUCTION. / VIII.; lines 1575-1646 confidence: high
A favorite of the gods escapes a destructive deluge in which mankind perishes; Gilgamesh hears of him and seeks the secret of eternal life; the deluge is interpreted as a rainy-season nature myth.
A favorite of the gods survives a destructive deluge in which mankind perishes, and Utnapishtim is described as living immortally among the gods.
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An Old Babylonian Version of the Gilgamesh Epic PENNSYLVANIA TABLET. / TRANSLITERATION. / TRANSLATION. / COMMENTARY ON THE PENNSYLVANIA TABLET.; lines 3216-3326 confidence: uncertain
The commentary says the meaning is unclear and asks whether Enkidu seeks to deprive godlike Gish of his spouse Ishhara, or whether two counterpart heroes contest possession of a goddess.
The commentary asks whether Enkidu intends to deprive Gish of his spouse Ishhara or whether the two heroes contest possession of a goddess.
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Assyrian and Babylonian Literature: Selected Translations ASSYRIAN AND BABYLONIAN LITERATURE / INSCRIPTION OF NEBUCHADREZZAR II 143 / INSCRIPTION OF NEBUCHADREZZAR II 145 / INSCRIPTION OF NEBUCHADREZZAR II 147; lines 10870-10911 confidence: medium
On the ancient platform foundation the speaker laid the foundation and rebuilt E-ul-la, temple of Nin-karrak in Sippar; Nin-karrak is described as loving him, protecting his life, and granting safety to his descendants.
Nin-karrak is described as loving the king, protecting his life, and granting safety to his descendants.
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Assyrian and Babylonian Literature: Selected Translations HYMN TO ISHTAR Q / PRAYERS AND HYMNS / PENITENTIAL PSALMS / PENITENTIAL PSALMS 435; lines 26607-26721 confidence: medium
"Exalted, great, my mistress, goddess Nana, may my supplication address thee!" The opening also addresses a consort, servant, bride, and mistress.
The prayer calls Shamash and Anu beloved husbands and includes opening titles such as consort and bride.
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Assyrian and Babylonian Literature: Selected Translations I I / CONTENTS / ILLUSTRATIONS / FACING PAGE; lines 4173-4288 confidence: medium
Akki the irrigator brought Sargon to land, reared him as his own son, appointed him gardener, and Ishtar looked on him with love; the damaged text later says he ruled the kingdom for four years.
While Sargon is gardener, Ishtar looks on him with love, and the surviving text then states that he ruled the kingdom for four years.
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Assyrian and Babylonian Literature: Selected Translations INSCRIPTION OF NABOPOLASSAR / INSCRIPTION OF NABOPOLASSAR / THE EAST INDIA HOUSE INSCRIPTION / OF NEBUCHADREZZAR II, KING; lines 10274-10288 confidence: high
Nebuchadrezzar is described as favored by Marduk, beloved of Nabu, an arbiter, and possessor of wisdom.
The passage explicitly describes Nebuchadrezzar as the favorite of Marduk and beloved of Nabu.
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Assyrian and Babylonian Literature: Selected Translations INSCRIPTION OF NEBUCHADREZZAR II 145 / INSCRIPTION OF NEBUCHADREZZAR II 147 / I48 ASSYRIAN AND BABYLONIAN LITERATURE / INSCRIPTION OF NEBUCHADREZZAR II 149; lines 10959-11050 confidence: high
The Borsippa inscription opening names Nebuchadrezzar King of Babylon, faithful shepherd, choice of Marduk’s loyal heart, noble priest-king, beloved of Nabu, knowing and wise.
The Borsippa opening calls Nebuchadrezzar the choice of Marduk’s loyal heart and the beloved of Nabu.
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Assyrian and Babylonian Literature: Selected Translations INTRODUCTION XV / XX ASSYRIAN AND BABYLONIAN LITERATURE / INTRODUCTION XXV / XXX ASSYRIAN AND BABYLONIAN LITERATURE; lines 1602-1710 confidence: high
The quoted example calls Sargon 'the king of the world' and 'the king of the four quarters of the world,' and says Ashur and Marduk granted him a kingdom without equal and sent his fame to the ends of the earth.
The Sargon example calls the king darling or favourite of gods and says Ashur and Marduk granted him a kingdom without equal.
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Assyrian and Babylonian Literature: Selected Translations INTRODUCTION XV / XX ASSYRIAN AND BABYLONIAN LITERATURE / INTRODUCTION XXV / XXX ASSYRIAN AND BABYLONIAN LITERATURE; lines 2301-2399 confidence: medium
The passage states that the Gilgamesh epic is composite like the Homeric poems and the Nibelungenlied, then lists episodes including Gilgamesh's rule, Uchat and Eabani, the Elamite expedition, Ishtar's rejected love and vengeance, the mountain-bull, the Mountain of the Sunset, the Waters of Death, the Deluge, the Plant of Life, and Eabani's spirit recalled from the nether-world.
The listed Gilgamesh episodes include Ishtar's love for Gilgamesh, his rejection of it, and her vow of vengeance.
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Assyrian and Babylonian Literature: Selected Translations ISHTAR'S DESCENT TO HADES 411 / ISHTAR'S DESCENT TO HADES 413 / ORACLES GIVEN IN FAVOUR OF ESARHADDON 415 / ORACLES GIVEN IN FAVOUR OF ESARHADDON 417; lines 25595-25765 confidence: medium
Esarhaddon is addressed as faithful son, son of Belit, and king of Assyria; the speaker promises with its own hands to end his enemies, calls him a cup full of herbs and a casket full of shekels, grants length of days and everlasting years, and says it will be his shield in Arbela.
The oracle says it loves Esarhaddon greatly, he is called son of Belit, and Ishtar of Arbela sends greetings to her child.
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Assyrian and Babylonian Literature: Selected Translations OF NEBUCHADREZZAR II, KING / EAST INDIA HOUSE INSCRIPTION 135 / EAST INDIA HOUSE INSCRIPTION 137 / EAST INDIA HOUSE INSCRIPTION; lines 10483-10527 confidence: medium
"I constructed a way ... as a procession street for the great lord Marduk. As for me, his first-born son, the beloved of his heart"
The royal speaker calls himself Marduk's first-born son and beloved while narrating major city works for the god and Babylon.
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Assyrian and Babylonian Literature: Selected Translations TABLET V / THE GILGAMESH NARRATIVE 337 / TABLET VI / THE GILGAMESH NARRATIVE 339; lines 21161-21220 confidence: medium
A farmer answers Ishtar's request with refusal, asking what she requests of him and saying he will not eat the bad, bitter, cold, numb food.
Ishtar's love or sexual approach is refused, and the passage recalls a prior refusal followed by harm; Gilgamesh states he would fare like the others if she loved him.
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Assyrian and Babylonian Literature: Selected Translations THE GILGAMESH NARRATIVE 335 / TABLET V / THE GILGAMESH NARRATIVE 337 / TABLET VI; lines 21056-21158 confidence: medium
“Come, Gilgamesh, be thou my spouse... Be thou my husband, let me be thy wife.”
Ishtar, a goddess, proposes marriage to Gilgamesh and promises him chariot, throne, homage, tribute, and prosperity.
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Assyrian and Babylonian Literature: Selected Translations THE GILGAMESH NARRATIVE 335 / TABLET V / THE GILGAMESH NARRATIVE 337 / TABLET VI; lines 21056-21158 confidence: high
The preserved passage says Gilgamesh refused Ishtar’s proffered love and reminded her that her former lovers had come to grief through her.
Gilgamesh refuses Ishtar’s offered love, citing harm that came to her former lovers.
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Assyrian and Babylonian Literature: Selected Translations THE GILGAMESH NARRATIVE 335 / TABLET V / THE GILGAMESH NARRATIVE 337 / TABLET VI; lines 21056-21158 confidence: high
Gilgamesh asks where Ishtar’s husband Tammuz is and says she caused the husband of her youth weeping and grief every year.
Gilgamesh lists multiple former beloveds of Ishtar and the grief, injury, coercion, trapping, or death associated with them.
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Cuneiform Parallels to the Old Testament MM II: / VII. ISHTAR'S DESCENT TO HADES1 / VIII. NERGAL AND ERESHKIGAL1 / IX. THE LEGEND OF SARGON, KING; lines 9185-9304 confidence: medium
“While I was a gardener the goddess Ishtar loved me,”
While Sargon is a gardener, Ishtar loves him; the next statements present his royal rule.
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Cuneiform Parallels to the Old Testament PRAYER OF THE RAISING OF THE HAND TO ISHTAR / NIN GA8AN HAR-8AG-KALAM-MA BAR-ZU / WISDOM LITERATURE / WISDOM LITERATURE; lines 12053-12320 confidence: high
Editorial note: the hymn is spoken by the goddess Ishtar as a lament for her consort; “abides no more” means no longer on earth.
The editorial note says Ishtar speaks the hymn as a lament for her consort, and the hymn has the queen say that her consort abides no more.
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Cuneiform Parallels to the Old Testament PTOLEMAIC CANON / LITERATURE / HISTORICAL TEXTS / I. HAMMURAPI; lines 15830-15946 confidence: high
Hammurapi calls himself founder of the land, says his deeds please Shamash and Marduk, says he made Sippar and Babylon dwell peacefully, and calls himself darling of Shamash and beloved of Marduk.
Hammurapi calls himself the darling of Shamash, beloved of Marduk, and beloved of the great gods.
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Cuneiform Parallels to the Old Testament THIRD TABLET / FOURTH TABLET / FIFTH TABLET / SIXTH TABLET; lines 6259-6319 confidence: high
Ishtar burns with love and invites Gilgamesh to be her lover and husband, promising a lapislazuli-and-gold chariot, horses, a cedar-scented house, homage from rulers, and tribute.
Ishtar offers herself as lover and wife to Gilgamesh, but Gilgamesh refuses and cites the bad outcomes of her former lovers.
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Cuneiform Parallels to the Old Testament TWELFTH TABLET / VI. EA AND ATRAKHASIS1 / MM II: / VII. ISHTAR'S DESCENT TO HADES1; lines 8729-8924 confidence: medium
The text turns obscurely to Tammuz, beloved of her youth, with pure waters, good oil, red garment, lapis-lazuli flute, and Belili; the note identifies Belili as Tammuz's sister, and the lines mention her brother's wailing and precious stones.
Tammuz is called beloved of her youth; Belili is identified as his sister and is described as hearing the wailing of her brother.
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The Epic of Gilgamish OF ORIENTAL STORIES. / PREFACE. / R. CAMPBELL THOMPSON. / ADDENDA ET CORRIGENDA.; lines 572-690 confidence: high
The courtesan says that Shamash loves Gilgamish and that Anu, Enlil, and Ea have endowed his wisdom.
Gilgamish is said to be loved by Shamash and endowed with wisdom by Anu, Enlil, and Ea.
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The Epic of Gilgamish THE ARRIVAL AT THE GATE OF THE FOREST. / THE SIXTH TABLET. / OF THE GODDESS ISHTAR, WHO FELL IN LOVE WITH THE HERO AFTER HIS / EXPLOIT AGAINST HUMBABA.; lines 1722-1890 confidence: high
Ishtar sees Gilgamish's beauty, asks him to come as bridegroom and husband, and promises an azure and golden chariot, cedar-fragrant house, and homage from rulers.
The passage states that Ishtar sees Gilgamish's beauty and asks him to be bridegroom, husband, and consort-partner.
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The Epic of Gilgamish THE ARRIVAL AT THE GATE OF THE FOREST. / THE SIXTH TABLET. / OF THE GODDESS ISHTAR, WHO FELL IN LOVE WITH THE HERO AFTER HIS / EXPLOIT AGAINST HUMBABA.; lines 1722-1890 confidence: high
Gilgamish asks who Ishtar ever faithfully loved, says he will unfold the tale of her husbands, and names Tammuz as a yearly cause of wailing.
Gilgamish rejects Ishtar by listing previous beloveds who were made to wail, injured, trapped, exhausted, lamented, or transformed.
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The Epic of Gilgamish THE ARRIVAL AT THE GATE OF THE FOREST. / THE SIXTH TABLET. / OF THE GODDESS ISHTAR, WHO FELL IN LOVE WITH THE HERO AFTER HIS / EXPLOIT AGAINST HUMBABA.; lines 1892-2098 confidence: medium
Ishtar complains to Anu that Gilgamish loads her with insult and tells of her sins; Anu replies that this follows because she asked Gilgamish for bodily favor.
Ishtar’s complaint to Anu follows Gilgamish’s recounting of her sins after her request for bodily favor, and she asks her father to make the Heavenly Bull against him.
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The Epic of Gilgamish The Epic of Gilgamish / EPIC OF GILGAMISH / OF ORIENTAL STORIES. / PREFACE.; lines 73-171 confidence: medium
Ishtar falls in love with Gilgamish and is rebuffed; she asks Anu to make a divine bull to destroy the two heroes. The bull has fiery breath, Enkidu overcomes it, and the gods decree Enkidu's death.
Ishtar falls in love with Gilgamish and proposes marriage; when he rebuffs her, she obtains a divine bull intended to destroy the heroes, and Enkidu's overcoming of the bull leads to divine punishment.
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georgian
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The Man in the Panther's Skin A CLOSE RENDERING FROM THE GEORGIAN / ATTEMPTED BY / MARJORY SCOTT WARDROP / PREFACE; lines 227-346 confidence: high
The highest form of friendship is noble love or divine frenzy, which transforms the lover, is pure and steadfast, can sweeten death when reciprocated, and is exemplified in Tariel’s panther-like passion and panther coat.
The highest love is described as divine frenzy that unseats Reason, precedes nuptial choice, transforms the lover into divine likeness, and remains steadfast toward the beloved.
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The Man in the Panther's Skin INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE / XVIII / XXVIT; lines 9763-9927 confidence: medium
Avt’handil says Tariel’s fire burns him too; he seeks remedies by sea and land, leaves court and soldiers, seeks balm, and asks P’hridon where to seek the heavenly sun.
Avt’handil asks where to seek the woman called the heavenly sun, the joy of those who gaze on her and disturber of those who cannot see her.
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The Man in the Panther's Skin INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE / XVIII / XXVIT; lines 9929-10099 confidence: medium
Avt'handil says he must depart that day because “another fire burns me” and asks P'hridon to lead him “to the seashore where thou sawest that sun (Nestan).”
Nestan is explicitly called the sun seen at the seashore, and the city also laments removal from the sun when Avt'handil departs.
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The Man in the Panther's Skin Marebi, guide or travelling companion. 5 683, 1455. / XLVII / APPENDICES / APPENDIX I; lines 15739-15888 confidence: medium
The poet ought not waste labor in frivolity; one woman should be the subject of his madness, love, art, praise, and song.
The poet says poetry should serve one woman alone, describes the praised woman as claimed by Heaven, and asks the beloved for aid, strength, mind, or approval.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 2218-2385 confidence: medium
The peerless woman sits mournful but radiant, shining like lightning and eclipsing the moon; she wears ermine and veils and is adorned by eyelashes and long tresses.
The maiden is figured as sun, rose, lightning, and a power before which moon or planets are subordinate, while Avt’handil describes himself as overwhelmed by her radiance.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 3737-3905 confidence: medium
Tariel laments: “O beloved, mine own, lost to me! My hope and life, my thought, my soul, my heart!” and calls the beloved a “tree planted in Eden.”
The beloved is called Tariel's hope, life, thought, soul, and heart, compared to a tree planted in Eden, and later described as like the sun.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 4075-4231 confidence: medium
The narrator stands outside a curtained doorway while the king enters; Asmat'h draws aside the curtain, the narrator sees the maiden Nestan, gives Asmat'h partridges, and describes the experience as burning him with fire.
Nestan is concealed behind a curtain, described with sunlike/light imagery, and the brief sight of her overwhelms the narrator.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 4233-4409 confidence: medium
Nestan-Daredjan's letter says: 'O lion,' 'I am thine,' 'It is better to exhibit to the beloved deeds of heroism,' 'Go, do battle with the Khatavians,' and 'I have turned thy darkness to dawn.'
The beloved is described through sunbeam, sun, moon, dawn, rays, and daylight imagery, and the narrator treats her appearance as life-giving light.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 4592-4755 confidence: medium
The narrator raises a red-and-black royal standard, orders troops to depart, grieves over not seeing his sun, and receives Asmat'h's letter through a slave saying the beloved calls him.
The beloved is repeatedly figured as sun and moon, summons the narrator through Asmat'h, meets him before he departs, and instructs him to fight.
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The Man in the Panther's Skin XLIV. / XLVI. / XLVII. / INTRODUCTORY QUATRAINS; lines 4911-5072 confidence: medium
In the treasuries the narrator finds a marvellous mantle and veil described as a divine miracle, strong like iron and as if tempered in fire; he reserves them for the woman whose ray enlightened him and sends loaded mules and camels as gifts to a king.
A mantle and veil are called a divine miracle and reserved as a present for the woman whose ray enlightened the narrator.
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The Man in the Panther's Skin XLVI. / XLVII. / INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE; lines 5247-5412 confidence: medium
Tariel is seated opposite the beloved he calls the sun; they exchange stealthy looks and no other converse, and turning his eyes away makes life hateful to him.
The beloved is repeatedly figured as the sun or as a light-bearing presence, and Tariel's life and distress are tied to looking at or losing sight of her.
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The Man in the Panther's Skin XLVI. / XLVII. / INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE; lines 5415-5570 confidence: medium
The speaker addresses the beloved: “thy ray ... struck my heart,” and asks what service can repay life.
The beloved is described through rays, sun-like sufficiency, moon imagery, golden face, and radiance that affects the speaker’s heart.
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The Man in the Panther's Skin XLVI. / XLVII. / INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE; lines 6412-6575 confidence: medium
The narrator and P'hridon climb a cape by the sea; P'hridon recounts seeing a swift object on the sea, later identified as a covered boat guided by a steersman with a moon-like figure in a litter.
The maiden appears in a boat on the sea and is described by moon, lightning, rose, tree, and sun-ray imagery before vanishing beyond reach.
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The Man in the Panther's Skin XLVII. / INTRODUCTORY QUATRAINS / LETTER OF TARIEL TO THE KING OF THE / XVIII; lines 9381-9547 confidence: medium
Avt’handil addresses the sun and compares it to T’hinat’hin’s cheeks, saying both are alike and both have left his heart cold.
T’hinat’hin is repeatedly associated with the sun: Avt’handil compares the sun to her cheeks and says he has parted from two suns.
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The Man in the Panther's Skin XVIII / XXVIT / XXVIII / AXNIT; lines 10727-10834 confidence: medium
“O sun, since it pleased God to create thee a sun”; the addressee is also described as burning and consuming those near him with fire.
P’hatman addresses Avt’handil as a God-created sun, a rose, and a burning source of love-pain, and says his answer will decide life or death for her.
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The Man in the Panther's Skin XXVIII / AXNIT / XXXII / XXXIV; lines 11205-11364 confidence: low
The maiden is praised as moon-like, sun-like, ray-bearing, a lady of the Pleiads, sun-faced, and aloe-tree-like; the speaker says her rays cannot be endured and gazing at her burns the observer.
The maiden is praised as moon-like, sun-like, ray-bearing, and associated with the Pleiads, while P'hatman says she loves her.
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The Man in the Panther's Skin XXVIII / AXNIT / XXXII / XXXIV; lines 11366-11526 confidence: medium
The lovely one has long stayed in the narrator's house; the narrator fears her husband will betray the secret at court, then considers trusting him under oath as her own fires increase.
The hidden maiden is repeatedly described as sunlike and possibly more than earthly; Usen is allowed to see her only after swearing secrecy.
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The Man in the Panther's Skin XXVIII / AXNIT / XXXII / XXXIV; lines 11528-11683 confidence: medium
Usen salutes the sovereign with solar praise, says he has a daughter-in-law and bride for the king's son, reveals the finding of the sun-like maid, and the king orders her conveyed to court.
The maid is repeatedly described through solar imagery, the king says only God could imagine her, and he states that a lover would rightly roam mad in deserts for her.
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The Man in the Panther's Skin XXXVI / XXXVIT / XXXVIII / XXXIX; lines 12674-12839 confidence: low
The writer says life without the beloved is nothing, imagines casting herself from the rock or killing herself with a knife, says the beloved's moon will belong to no one else, and wonders if Heaven may give her wings.
The writer associates the beloved with sun imagery, calls herself or her relation his moon, and imagines the beloved as an atom of the sun that enlightens her heart.
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The Man in the Panther's Skin XXXVI / XXXVIT / XXXVIII / XXXIX; lines 14415-14497 confidence: medium
Avt'handil says he needs no helper; his sun is not possessed by Kadjis but sits on a throne by God's will, honored, unharmed, and not oppressed by Kadjis or wizard sorcery.
Avt'handil calls his beloved his sun, says she sits on a throne by God's will, and describes her as honored and unharmed.
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The Man in the Panther's Skin XXXVIT / XXXVIII / XXXIX / Marebi, guide or travelling companion. 5 683, 1455.; lines 15015-15171 confidence: medium
A knight urges the king not to delay seeing the lady, calls her the sun, and tells him to conduct her home and be clothed in her rays.
The lady is repeatedly addressed and described as sun, light, rays, and blinding radiance; related courtly figures are also framed through radiance.
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hermetic
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Thrice-Greatest Hermes, Vol. I: Prolegomena PHILO OF ALEXANDRIA 205 / PHILO OF ALEXANDRIA 207 / PHILO OP ALEXANDRIA 209 / PHILO OF ALEXANDRIA 211; lines 12100-12208 confidence: medium
The Therapeuts take up service of God through heavenly love, are likened to Bacchic or Corybantic initiates, and are described as a-fire with God until they see the object of their love.
The Therapeuts are moved by heavenly love, compared to Bacchic or Corybantic initiates, and described as a-fire with God until they see the object of love.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE DISCIPLES OF THRICE-GREATEST HERMES 469 / THE DISCIPLES OP THRICE-GREATEST HERMES 47 1 / THE DISCIPLES OF THRICE -GREATEST HERMES 473 / THE DISCIPLES OF THRICE -GREATEST HERMES 475; lines 25921-26017 confidence: medium
Mead suggests a similarity of conception: Asclepius as main subsequent teacher like James, Peter as organizer and king-power equated with Ammon, and John as Beloved like Tat; John understands the spirit best, James the formal side, and Peter organizes.
John is described as Beloved and as succeeding to spiritual directorship, while Tat is said to be Beloved and to succeed Trismegistus analogously.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OF ISIS AND OSIRIS 325 / THE MYSTERIES OF ISIS AND OSIRIS 327 / THE MYSTERIES OF ISIS AND OSIRIS 329 / THE MYSTERIES OF ISIS AND OSIRIS 331; lines 18628-18734 confidence: medium
After the winter solstice they carry the Cow around the shrine seven times; the circuit is called the Seeking for Osiris, because in winter the Goddess longs for the 'water' of the Sun, and the seven circuits correspond to the seventh month from winter to summer solstice.
The Goddess longs for the 'water' of the Sun, and Isis/Moon is described as following Sun longing after him; Moon and Isis are also linked to love-affairs.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OF ISIS AND OSIRIS 331 / THE MYSTERIES OF ISIS AND OSIRIS 333 / THE MYSTERIES OF ISIS AND OSIRIS 335 / THE MYSTERIES OP ISIS AND OSIRIS 337; lines 18955-19060 confidence: medium
Means is interpreted as the First Beloved, Desirable, Perfect, and Sufficient; Matter is Poverty, deficient of the Good but filled by, longing for, and sharing in Him.
Means is interpreted as the First Beloved and Sufficient, while Matter/Poverty is deficient of the Good but is filled by, longs for, and shares in Him.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OF ISIS AND OSIRIS 333 / THE MYSTERIES OF ISIS AND OSIRIS 335 / THE MYSTERIES OP ISIS AND OSIRIS 337 / THE MYSTERIES OF ISIS AND OSIRIS 339; lines 19063-19167 confidence: medium
The Goddess is said to share eternally in the First God and to consort with Him out of love for the goodness and beauty surrounding Him, with a lawful husband and good wife used as analogy.
The Goddess’s eternal attachment to the First God is explained through the analogy of a righteous husband and good wife, with desire and consorting emphasized.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OF ISIS AND OSIRIS 357 / THE MYSTERIES OF ISIS AND OSIRIS 359 / THE MYSTERIES OF ISIS AND OSIRIS 361 / THE MYSTERIES OF ISIS AND OSIRIS 363; lines 20333-20436 confidence: medium
Isis is said to be ever in love with Beauty, to pursue and consort with it, and thereby to fill things in genesis with all things fair and good; this is framed as a logos suitable to God.
Isis is described as loving, pursuing, and consorting with ineffable Beauty, which results in generated things being filled with fair and good things.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OF ISIS AND OSIRIS 363 / THE MYSTERIES OF ISIS AND OSIRIS 365 / THE MYSTERIES OF ISIS AND OSIRIS 367 / VOL. I. 369 24; lines 20979-21132 confidence: medium
Hermas is described as strongly Gnostic and as a permutation of the Sophia-mythus involving Christ and Sophia/Wisdom, the Son of God and his spouse or sister the Holy Spirit, King and Queen, Lord and Virgin Church, and an allegorical drama of inner nature.
The author describes the Sophia-mythus as the mystic lore and love of Christ and Sophia, the Son of God and his spouse or sister, and related male-female sacred pairings.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OP ISIS ANB OSIRIS 281 / THE MYSTERIES OF ISIS AND OSIRIS 283 / THE MYSTERIES OF ISIS AND OSIRIS 285 / THE MYSTERIES OP ISIS AND OSIRIS 287; lines 16236-16349 confidence: medium
In solitude Isis opens the chest, places her face on his face, kisses him, and weeps. A child silently comes from behind, understands, receives her awe-inspiring look, and dies; another version says he fell into the river.
Isis opens the chest, lays her face on the dead male face, kisses him, and weeps in a passage framed as the mysteries of Isis and Osiris.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OP ISIS AND OSIRIS 289 / VOL. I. 19 / THE MYSTERIES OP ISIS AND OSIRIS 291 / THE MYSTERIES OF ISIS AND OSIRIS 293; lines 16573-16690 confidence: medium
The note quotes Naumann: several Mediterranean groups had a primitive lament, originally a funeral chant for Adonis; Egyptians changed it into a lament of Isis for Osiris, called Linos by Greeks and Maneros by Egyptians.
The note describes a lament of Isis for Osiris and quotes a lament repeatedly asking a divine beloved to return or come.
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Thrice-Greatest Hermes, Vol. I: Prolegomena THE MYSTERIES OP ISIS AND OSIRIS 289 / VOL. I. 19 / THE MYSTERIES OP ISIS AND OSIRIS 291 / THE MYSTERIES OF ISIS AND OSIRIS 293; lines 16573-16690 confidence: medium
The quoted Maneros repeatedly calls God Panu or the beautiful beloved to return, seeks to see him, and asks Onnofris or Urtuhet to come to the sister, wife, and consort.
The quoted lament asks the beloved to come to the speaker identified as sister, wife, and consort.
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Thrice-Greatest Hermes, Vol. I: Prolegomena VOL. I. 10 / THE MYTH OF MAN IN THE MYSTERIES 147 / THE MYTH OF MAN IN THE MYSTERIES 149 / THE MYTH OF MAN IN THE MYSTERIES 151; lines 8632-8744 confidence: high
The Assyrians call the Mystery Adonis or Endymion; when called Adonis, Aphrodite loves and desires Soul, and Aphrodite is equated with Genesis.
Aphrodite, Persephone/Kore, Selene, and the Mother of the Gods are each described as loving, desiring, or calling back Soul through figures such as Adonis, Endymion, and Attis.
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Thrice-Greatest Hermes, Vol. I: Prolegomena VOL. I. 18 / THE MYSTERIES OF ISIS AND OSIRIS 275 / THE MYSTERIES OF ISIS AND OSIRIS 277 / THE MYSTERIES OP ISIS AND OSIRIS 279; lines 15762-15877 confidence: medium
Nephthys is married to Typhon; Isis and Osiris love one another and unite before birth in the Womb beneath the Darkness; Aroueris is called Elder Horus by Egyptians and Apollo by Greeks.
Isis and Osiris are said to love one another and unite before birth, and Nephthys is said to be married to Typhon.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) IN GOD ALONE IS GOOD 111 / IN GOD ALONE IS GOOD 113 / TN GOD ALONE IS GOOD 115 / COMMENTARY; lines 5057-5142 confidence: high
The passage asks whether Hermes spoke metaphorically to intensify the ideal of the Good and states that the Cosmos was regarded as Son of God, fairest and best-beloved, and God’s Very Image.
The cosmos is described as the Son of God, the fairest and best-beloved of all, and God’s Very Image.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) OF MEN / PCEMANDRES, THE SHEPHERD OF MEN 5 / POEMANDRES, THE SHEPHERD OF MEN 7 / PCEMANJDRES, THE SHEPHERD OF MEN 9; lines 815-898 confidence: medium
Nature sees Man's unsatiating beauty, his possession of the energies of all seven Rulers and God's Form, smiles with love, and sees his image on Water and shadow on Earth.
Nature and Man mutually behold and love Man's form, and Nature winds around him so that they are intermingled as lovers.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) PCEMANDRES, THE SHEPHERD OF MEN 29 / PCEMANDRES, THE SHEPHERD OF MEN 31 / PCEMANDRES, THE SHEPHERD OF MEN 33 / PCEMANDRES, THE SHEPHEED OF MEN 35; lines 1886-1964 confidence: medium
Man the Beloved descends clothed with powers from his Brother's creative energy; after learning the Spheres' conformations and limitations, he seeks to break through the Great Boundary and must descend further into matter.
Man is called the Beloved, seeks Nature as consort below, and is willingly bound in love for her; commentary also calls Nature spouse of Mind.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) POEMANDKES, THE SHEPHERD / OF MEN / PCEMANDRES, THE SHEPHERD OF MEN 5 / POEMANDRES, THE SHEPHERD OF MEN 7; lines 734-812 confidence: high
All-Father Mind, being Life and Light, brings forth Man coequal to himself, loves him as his own child and image, and bestows all his formations on him.
God falls in love with Man, who is described as his own child, beautiful beyond compare, and God's own form or image.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) THE ENCOMIOM OF KINGS 299 / THE ENCOMIUM OF KINGS 301 / THE ENCOMIUM OF KINGS 303 / VOL. II. 20; lines 13271-13455 confidence: high
The Lord and Maker, called God, made a second God, Visible and Sensible, from Himself; seeing Him as fair and filled with goodness, He loved Him as part of His Divinity.
God makes a second visible and sensible God from Himself and falls in love with Him as part of His Divinity.
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Thrice-Greatest Hermes, Vol. II: Sermons (Corpus Hermeticum) TO ASCLEPIUS 67 / COMMENTAKY / TO ASCLEPIUS 69 / TO ASCLEPIUS 71; lines 3408-3490 confidence: medium
The Bodiless, Mind, Reason, or Logos is described as that in which all things live and move, Infinite Space itself, the Container of all things, the Spouse or Son of Deity, Wisdom, Good and Truth, Light of light, Life of life, and Archetype of Soul.
The passage identifies the Logos with Wisdom and calls it the Spouse or Son of Deity.
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japanese
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 1101-1205 confidence: medium
The narrative explains that Urashima’s few days in the Sea King’s palace were hundreds of years; his parents and all he knew have died, and he resolves to return to his beautiful wife beyond the sea.
Urashima calls the Princess beyond the sea his beautiful wife and seeks to return to her in the Sea King’s realm.
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 1101-1205 confidence: medium
Urashima realizes that the few days in the Sea King’s palace were hundreds of years at home; his parents and former acquaintances have died, and he resolves to return to his wife beyond the sea.
Urashima seeks to return to his wife, the Princess beyond the sea, but after opening the box the narrator says he can never return to her or the Sea King’s realm.
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 856-981 confidence: medium
A beautiful Princess with attendant maidens welcomes Urashima, takes him by the hand, leads him to a hall, and seats him in the place of honor.
The beautiful Princess of the Sea King’s kingdom offers to become Urashima’s bride and live with him forever in the land of eternal youth.
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 856-981 confidence: medium
The princess says Urashima set free a tortoise, adds, "I was that tortoise," and offers him life forever in the land of eternal youth as her bridegroom.
The princess offers to be Urashima’s bride and to let him live forever in a realm of eternal youth without sorrow.
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 983-1099 confidence: medium
The Princes invite the bridegroom to tour the palace; Urashima follows his bride, the Sea King's daughter, through an enchanted land where youth and joy remain and neither time nor age can touch them; the palace is coral and pearl.
Otohime Sama is Urashima's beautiful wife and the Sea King's daughter in an enchanted land where time and age do not touch the inhabitants.
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Japanese Fairy Tales JAPANESE FAIRY TALES / MY LORD BAG OF RICE / THE TONGUE-CUT SPARROW / THE STORY OF URASHIMA TARO, THE FISHER LAD; lines 983-1099 confidence: medium
Ceremonial fishes bring food on coral trays; the bridal is celebrated, the young pair pledge themselves with the wedding cup of wine three times three, and fishes dance.
Urashima is married to Otohime Sama, the Sea King's daughter, in the Sea King's realm with a formal wedding feast and cup.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2528-2630 confidence: medium
In three months the bamboo child becomes a full-grown girl; she is dressed in kimonos, hidden behind screens, radiates light, and dispels the old man’s sorrow.
Princess Moonlight is secluded behind screens, famed for extraordinary beauty and light, and pursued by suitors who wish to marry or see her.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2528-2630 confidence: medium
After three months the bamboo child has become a full-grown girl; she is dressed in beautiful kimonos, kept behind screens like a princess, and emits light that fills the house.
Princess Moonlight gives off soft bright light, is compared to a possible daughter of the Moon God, and becomes the object of many suitors’ desire.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2632-2740 confidence: medium
The old man tells Princess Moonlight he has raised her as his child and wants her to marry before he dies; she says she honors him as her father and remembers no time before coming to earth.
Princess Moonlight is described as heavenly or more than mortal, is sought by five suitors, and imposes tests before granting access.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2632-2740 confidence: medium
The suitors return to the bamboo-cutter's house, ask him to speak for them, and describe their long vigil through winter, summer, hunger, sleeplessness, and exposure.
The bamboo-cutter says Princess Moonlight seemed like a heavenly being and more than mortal, while suitors seek to marry her.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2843-2950 confidence: medium
The Emperor hears of Princess Moonlight’s beauty and sends a Court lady; the Princess refuses to see her and says she will vanish from earth if forced to obey the order to go to the Palace.
Princess Moonlight is described as more lovely than any human being and shining with soft radiance; when the Emperor attempts to take her to Court, she says she will become a shadow and begins to fade until he promises freedom.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2843-2950 confidence: medium
She is "more lovely than any human being" and "shone in her own soft radiance."
The Emperor falls in love with Princess Moonlight after seeing that she is more lovely than a human being and shines with soft radiance.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2952-3060 confidence: medium
The Emperor leaves sadly, thinks of Princess Moonlight constantly, writes poems of love and devotion, and receives her verses saying she can never marry anyone on earth.
The Emperor loves Princess Moonlight and writes poems to her, but she replies that she can never marry anyone on earth; she is later identified as being from the moon.
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Japanese Fairy Tales THE FARMER AND THE BADGER / THE ADVENTURES OF KINTARO, THE GOLDEN BOY / THE STORY OF THE MAN WHO DID NOT WISH TO DIE / THE BAMBOO-CUTTER AND THE MOON-CHILD; lines 2952-3060 confidence: high
The Emperor leaves sadly, regards Princess Moonlight as uniquely beautiful, sends love poems, and receives verses saying she can never marry anyone on earth.
Princess Moonlight is loved on earth but says she belongs to the moon and is taken back by moon envoys in a flying chariot.
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Japanese Fairy Tales THE JELLY FISH AND THE MONKEY / THE QUARREL OF THE MONKEY AND THE CRAB / THE WHITE HARE AND THE CROCODILES / THE STORY OF PRINCE YAMATO TAKE; lines 6021-6126 confidence: medium
Yamato Take is cold toward Ototachibana, says her place is at the palace rather than the warpath, and she remains despite rebuffs.
Despite Yamato Take’s neglect and promise to marry Miyadzu, Ototachibana acts from love to save his life.
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Kwaidan: Stories and Studies of Strange Things A DEAD SECRET / YUKI-ONNA / THE STORY OF AOYAGI / JIU-ROKU-ZAKURA; lines 2287-2389 confidence: medium
Music is heard, court ladies lead Akinosuké to the bride, many guests witness the wedding, and the bride is described as appearing like a maiden of heaven.
Akinosuké’s bride is described in heavenly terms at the wedding, bears seven children, then dies, leaving him in extreme grief.
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Kwaidan: Stories and Studies of Strange Things RIKI-BAKA / HI-MAWARI / INSECT STUDIES / BUTTERFLIES; lines 3153-3252 confidence: medium
After hearing the nephew’s report, the widow says it must have been Akiko and explains that Akiko was Takahama’s betrothed, a neighbor’s daughter who died before the wedding.
Akiko, Takahama’s dead betrothed, is identified as the white butterfly that appears at his deathbed and is said to have come for him.
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islamic
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The Koran (Al-Qur'an) CHAPTER I. / IN THE NAME OF THE MOST MERCIFUL GOD / CHAPTER II. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 9774-9860 confidence: medium
"some men take idols beside GOD, and love them as with the love due to GOD; but the true believers are more fervent in love towards GOD"; the same unit says God is severe in punishing.
The text contrasts those who love idols with the love due to God and true believers who are more fervent in love toward God.
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The Koran (Al-Qur'an) CHAPTER III. / IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER IV. / IN THE NAME OF THE MOST MERCIFUL GOD; lines 13129-13192 confidence: medium
The passage asks who is better in religion than one who submits to God, works righteousness, and follows Abraham the orthodox; God took Abraham for his friend, and whatever is in heaven and earth belongs to God.
The passage names Abraham as orthodox and says God took Abraham for his friend, presenting him in connection with proper religion and righteousness.
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The Koran (Al-Qur'an) CHAPTER III. / IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER IV. / IN THE NAME OF THE MOST MERCIFUL GOD; lines 13194-13265 confidence: high
A note explains Abraham's title Khall Allah, Friend of God, and begins a story in which he sends servants to an Egyptian friend for corn during dearth, but the friend refuses because of famine and Abraham's hospitality to guests and the poor.
Abraham is explicitly called Khall Allah, the Friend of God, and the accompanying story culminates in Abraham attributing the miraculous flour to God Almighty.
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The Koran (Al-Qur'an) CHAPTER IV. / IN THE NAME OF THE MOST MERCIFUL GOD / CHAPTER V. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 14000-14047 confidence: high
If believers apostatize, God will bring other people in their place, loved by God and loving God, humble to believers, severe to unbelievers, fighting for God's religion without fearing detractors.
The replacement people are described as those whom God will love and who will love God.
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The Koran (Al-Qur'an) CHAPTER IV. / IN THE NAME OF THE MOST MERCIFUL GOD / CHAPTER V. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 14000-14047 confidence: medium
If believers apostatize, God will bring others "whom he will love, and who will love him"; they are humble to believers, severe to unbelievers, fight for God's religion, and do not fear detractors.
The replacement people are described as those whom God will love and who will love God.
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The Koran (Al-Qur'an) CHAPTER XI. / IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER XII. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 20502-20562 confidence: medium
Translator's note reports a tradition of Joseph marrying his former mistress and says the loves of Joseph and Zoleikha were used as an allegorical emblem of spiritual love between God and the soul, compared with Christian use of the Song of Solomon.
The translator's note says the loves of Joseph and Zoleikha were used as an allegorical emblem of spiritual love between the Creator and creature, God and the soul.
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The Koran (Al-Qur'an) CHAPTER XI. / IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER XII. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 20502-20562 confidence: medium
Sale reports a tradition that Joseph succeeded Kitfr and married the widow, and adds that Joseph and Zoleikha's love was used as an allegory of spiritual love between God and the soul, like Christian use of the Song of Solomon.
Sale's note states that the loves of Joseph and Zoleikha were used as an allegorical emblem of spiritual love between the Creator and the creature, God and the soul.
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The Koran (Al-Qur'an) IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER IX. / CHAPTER X. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 19146-19242 confidence: medium
Friends of God have no fear or grief and receive good tidings; idols are vain; night is for rest and day for labor; the claim that God begot children is denied.
The passage identifies God's friends as those free from fear and grief and promised good tidings in this life and the next.
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The Koran (Al-Qur'an) IN THE NAME OF THE MOST MERCIFUL GOD. / CHAPTER XCIII. / ENTITLED, THE BRIGHTNESS; REVEALED AT MECCA. / IN THE NAME OF THE MOST MERCIFUL GOD.; lines 38668-38701 confidence: medium
“thy LORD hath not forsaken thee, neither doth he hate thee.”
The addressed person is explicitly told that the Lord has not forsaken or hated him.
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The Koran (Al-Qur'an) IN THE NAME OF THE MOST MERCIFUL GOD. / FINIS / AN INDEX / OF THE; lines 39628-39754 confidence: medium
"Asia, the wife of Pharaoh, marytred by her husband for believing in Moses... is taken alive into paradise"; "Azral, the angel of death".
Asia is martyred for belief and taken alive into paradise.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 19347-19457 confidence: low
"I will answer the cry of him that crieth, when he crieth unto me."
God says he is near to his servants and answers the cry of the one who cries to him.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 21126-21241 confidence: medium
Angels tell Mary that God has chosen and purified her and chosen her above the women of the worlds, and they command her to be devout, prostrate, and bow.
Angels tell Mary that God has chosen her, purified her, and chosen her above the women of the worlds.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 25973-26089 confidence: medium
Jews and Christians say they are sons of God and his beloved; the reply asks why God chastises them for sins and says they are created humans subject to pardon or chastisement, with all things returning to God.
Jews and Christians are quoted as claiming to be sons of God and his beloved; the reply denies special exemption by asking why God chastises them for sins.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 26203-26315 confidence: high
“God will then raise up a people loved by Him, and loving Him” who contend for God’s cause.
God will raise a people who are loved by Him and who love Him, marked by loyalty and striving in God's cause.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 26203-26315 confidence: medium
If any believers desert God’s religion, God will raise a people loved by Him and loving Him, humble toward the faithful, stern toward unbelievers, contending for God’s cause without fear of blame.
The passage states that if some believers desert the religion, God will raise a people loved by Him and loving Him, who contend in God’s cause.
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The Koran (Al-Qur'an) PUBLIC SERVICES, / AND EMINENT LITERARY ATTAINMENTS, / THE TRANSLATOR. / PREFACE; lines 4762-4955 confidence: medium
Translator note: promises of Houris of Paradise are said to occur mostly in earlier suras; later passages mention women less often and speak of wives accompanying faithful husbands into gardens of bliss.
The pious dwell amid gardens and rivers, and the translator note associates Paradise with Houris or wives accompanying faithful husbands into gardens of bliss.
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shinto
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 A.D, 434. / XIII. 15. / AD. 435: / INGIO. 325; lines 18666-18774 confidence: low
Karu no Iratsume is banished to Iyo; the Heir Apparent sings of island exile, return, bed and spouse, and then of the maiden of Karu's suppressed weeping like doves of Mount Hasa.
The second song describes the maiden of Karu suppressing violent weeping so that people will not know of it.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 ABBREVIATIONS. / NILHONGI / GENEALOGY OF THE AGE OF THE GODS. / IST GENERATION.; lines 2000-2154 confidence: medium
Izanagi "entered the land of Yomi"; Izanami says, "I have already eaten of the cooking-furnace of Yomi" and asks, "do not thou look on me."
Izanagi addresses Izanami as his wife in Yomi, sees her polluted decayed state, and flees; she pursues in anger.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 B.C. 95. / B.C, 935 / SUJIN. 153 / SUJIN. 157; lines 9304-9461 confidence: high
Yamato-toto-hi-momo-so-bime becomes wife of Oho-mono-nushi; the god is unseen by day and comes at night, and he agrees to enter her toilet-case in the morning while asking her not to be alarmed at his form.
Yamato-toto-hi-momo-so-bime becomes wife of Oho-mono-nushi, who comes at night and is not seen in daytime until she requests a morning vision.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 C276. / OJIN. 259 / A.D. 280. / A.D. 282.; lines 14939-15010 confidence: low
Oho-sazaki's private song addresses the maid of Kohada, says he had heard of her as of a God, and says they are folded in each other's arms.
Oho-sazaki's song says that he had heard of the maid of Kohada 'as of a God' before describing their embrace.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 ES 308 / L400: / II. 42. / IT. 44.; lines 6236-6382 confidence: medium
Toyo-tama-hime is secretly seen after changing into a great sea-monster of eight fathoms; she is ashamed and resentful, and after the birth she gives the child the name Hiko-nagisa-take-u-gaya-fuki-ahezu no Mikoto.
The Heavenly Grandchild secretly sees Toyo-tama-hime in her sea-monster form; she is ashamed and resentful, names the child, and departs across the sea.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 II. 16. / BES (20; / II. 26. / II. 28.; lines 5551-5661 confidence: medium
The Heavenly Grandchild favours Toyo-ata-tsu hime; she becomes pregnant after one night, his doubt is mentioned, she gives birth to Ho-no-suseri and Ho-no-ori/Hiko-hoho-demi, and her vow proves them to be his offspring.
After the paternity doubt and proof, Toyo-ata-tsu hime is angry and silent, and the Heavenly Grandchild laments in song.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 II. 16. / BES (20; / II. 26. / II. 28.; lines 5664-5783 confidence: high
Hiko-hoho-demi takes the Sea-God's daughter Toyo-tama-hime as wife, lives in the sea-palace for three years, and sighs because he longs for his own country.
Hiko-hoho-demi, called the Heavenly Grandchild, takes the Sea-God's daughter Toyo-tama-hime as wife and dwells in the sea-palace.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 II. 16. / BES (20; / II. 26. / II. 28.; lines 5786-5929 confidence: high
Toyo-tama-hiko sends to ask the stranger's identity; Hoho-demi says he is grandchild of the Heavenly Deity and explains his coming; the Sea God receives him and gives him Toyo-tama-hime as wife.
The Sea God receives Hiko-hoho-demi and gives him Toyo-tama-hime as wife, after which he dwells in the sea palace.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 II. 28. / ES 308 / L400: / II. 42.; lines 6140-6233 confidence: high
Hiko-hoho-demi no Mikoto relates what happened, remains there, and the Sea-God gives him Toyo-tama-hime as wife; after three years, the time comes to depart.
The Sea-God gives Toyo-tama-hime, his daughter, to Hiko-hoho-demi no Mikoto as wife during his stay in the divine sea realm.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 II. 9, / THE AGE OF THE GODS. 73 / II. 16. / BES (20;; lines 5153-5287 confidence: high
Ninigi erects a palace hall, walks by the seashore, sees a beautiful woman, and learns that she is the daughter of Oho-yama-tsu-mi, named Kami-ataka-ashi-tsu-hime or Ko-no-hana-saku-ya-hime, with elder sister Iha-naga-hime.
Ninigi seeks to marry the daughter of Oho-yama-tsu-mi, asks her father, and takes the younger daughter after the father sends both daughters with offerings.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 INGIO. 321 / A.D. 422. / XIII. 13. / A.D. 425.; lines 18492-18548 confidence: medium
Sotohori Iratsume made a song wishing to meet her lord continually, with an image of shore weeds drifting beachward.
The Emperor loves Sotohori, receives or hears her song of longing, and warns that the Empress must not hear it because she would be angry.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 INTRODUCTION. XV / XX INTRODUCTION. / ABBREVIATIONS. / NILHONGI; lines 1049-1163 confidence: medium
Translator note: personifications of abstract ideas are compared with South Sea personifications of beginning and space; the note says it is unclear whether High-august-growth is the same as Musubi or Musubu no Kami, described as uniting lovers and receiving rags hung on roadside trees.
The note describes rags hung on roadside trees as offerings to Musubi or Musubu no Kami, a god who unites lovers.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 SUJIN. 161 / SUJIN. 163 / B.C. 29. / VI. 5.; lines 9910-9957 confidence: medium
The divine stone became changed into a beautiful maiden; Arashito rejoiced and wished union with her, but she disappeared while he was away.
Arashito wishes to be united with the maiden, she disappears, and he searches for her eastward over the sea.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 1 T, 56. / I. 58. / I 626 / II. 9,; lines 4512-4636 confidence: high
When asked whose daughter she is, Ka-ashi-tsu-hime answers that she is the child of a Heavenly Deity by marriage with Oho-yama-tsu-mi Kami; a note glosses Oho-yama-tsu-mi as Great-mountain-body and possibly a mountain deity.
The August Grandchild favours or marries Ka-ashi-tsu-hime, who is described as a fair maid with divine or mountain-associated parentage.
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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, Volume 2 AD. 649. / XXV. 42 / XXV. 43. / XXV. 4; lines 13089-13221 confidence: medium
Miyakko hime dies of a broken heart; when the Prince Imperial hears of her death, he is deeply shocked and laments her loss.
The poems mourn the dead wife through the image of well-matched mandarin-ducks and a wife who does not blossom again though flowers bloom on every tree.
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biblical
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The Bible, Douay-Rheims, Book 25: Wisdom The Bible, Douay-Rheims, Book 25: Wisdom / THE HOLY BIBLE / THE BOOK OF WISDOM; lines 569-720 confidence: medium
Wisdom reaches from end to end and orders all things; the speaker loved and sought her from youth and desired her as spouse; she is conversant with God, loved by the Lord, teaches knowledge of God, and chooses God’s works.
Wisdom is described as feminine, loved and sought by the speaker, and desired as spouse and cohabiting companion.
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The Bible, King James Version, Book 19: Psalms The Bible, King James Version, Book 19: Psalms / Book 19 Psalms; lines 2648-2798 confidence: medium
The community says God cast them off, scattered them, made earth tremble and break, showed hard things, gave wine of astonishment, gave a banner to those who fear him, and is asked to deliver the beloved with the right hand.
Those who fear God receive a banner, and the plea asks that God's beloved may be delivered by the divine right hand.
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The Bible, King James Version, Book 19: Psalms The Bible, King James Version, Book 19: Psalms / Book 19 Psalms; lines 3410-3564 confidence: medium
The speaker was grieved and beast-like, yet God holds the speaker's right hand, guides with counsel, receives to glory, and is strength and portion; those far from God perish.
The speaker says God holds the right hand, guides with counsel, receives the speaker to glory, and is the strength and portion of the heart.
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The Bible, King James Version, Book 19: Psalms The Bible, King James Version, Book 19: Psalms / Book 19 Psalms; lines 5472-5630 confidence: medium
A speaker vows to sing and praise with psaltery and harp among peoples and nations, describes divine mercy and truth above the heavens and clouds, and asks God to be exalted and deliver the beloved with his right hand.
The speaker petitions that God’s beloved may be delivered and saved with God’s right hand.
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The Bible, King James Version, Book 19: Psalms The Bible, King James Version, Book 19: Psalms / Book 19 Psalms; lines 670-819 confidence: medium
The LORD sends from above, takes the speaker, draws him from many waters, delivers him from strong enemies, supports him in calamity, and brings him into a large place because he delighted in him.
The LORD delivers the speaker and brings him into a large place because he delighted in him.
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The Bible, King James Version, Book 19: Psalms The Bible, King James Version, Book 19: Psalms / Book 19 Psalms; lines 7449-7522 confidence: medium
The LORD exalts the horn of his people; his saints and the children of Israel are described as a people near to him.
The LORD exalts the horn of his people, Israel is called a people near to him, and he takes pleasure in his people and beautifies the meek with salvation.
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The Bible, King James Version, Book 23: Isaiah The Bible, King James Version, Book 23: Isaiah / Book 23 Isaiah; lines 335-461 confidence: medium
The speaker sings of a beloved's vineyard on a fruitful hill; the owner fences it, removes stones, plants a choice vine, builds a tower, and makes a winepress.
The song addresses a beloved with a vineyard; the vineyard is cultivated, fails to produce expected grapes, is judged with waste and withheld rain, and is identified as Israel and Judah failing to produce justice and righteousness.
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The Bible, King James Version, Book 23: Isaiah The Bible, King James Version, Book 23: Isaiah / Book 23 Isaiah; lines 4267-4392 confidence: high
The addressee is told not to fear or be ashamed; the Maker is her husband and Redeemer; the LORD called her as a forsaken wife and promises gathering, mercy, and everlasting kindness after momentary forsaking.
The Maker is called the addressee's husband, and the LORD describes her as a forsaken wife whom he will gather and show mercy with everlasting kindness.
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The Bible, King James Version, Book 23: Isaiah The Bible, King James Version, Book 23: Isaiah / Book 23 Isaiah; lines 4769-4888 confidence: high
Zion/Jerusalem's righteousness and salvation shine; Gentiles and kings see its glory; it receives a new name, becomes crown and diadem in God's hand, and is called Hephzibah/Beulah rather than Forsaken/Desolate; God rejoices as bridegroom over bride.
Zion's land is renamed Hephzibah and Beulah, said to be married, and God is said to rejoice over Zion as a bridegroom over a bride.
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The Bible, King James Version, Book 26: Ezekiel The Bible, King James Version, Book 26: Ezekiel / Book 26 Ezekiel; lines 1305-1427 confidence: high
The LORD sees that it is the time of love, spreads his skirt over the figure, covers her nakedness, swears to her, enters covenant with her, washes away her blood with water, and anoints her with oil.
The LORD covers the figure's nakedness, enters covenant with her, says she became his, adorns her, and the passage later frames her as a wife who commits adultery.
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The Bible, King James Version, Book 27: Daniel The Bible, King James Version, Book 27: Daniel / Book 27 Daniel; lines 1156-1272 confidence: high
While Daniel is praying, confessing, and presenting supplication for the holy mountain, Gabriel, seen in a prior vision, flies swiftly and touches him at the evening oblation.
Gabriel arrives in flight, touches Daniel, says Daniel is greatly beloved, and gives skill and understanding about the vision and timetable.
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The Bible, King James Version, Book 27: Daniel The Bible, King James Version, Book 27: Daniel / Book 27 Daniel; lines 1274-1390 confidence: high
A hand touches and raises Daniel; the speaker calls him greatly beloved, tells him to understand and stand, says he was sent, and says Daniel’s words were heard from the first day he sought understanding and chastened himself before God.
Daniel is addressed as greatly beloved, told to understand, and told that the speaker was sent to him to explain what will befall his people in the latter days.
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buddhist
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Buddhism in Translations (Harvard Oriental Series, Vol. 3) HARVARD ORIENTAL SERIES / LIST OF THE HARVARD ORIENTAL SERIES / REVISED TO DECEMBER, 1920 / HARVARD ORIENTAL SERIES 3; lines 25719-25791 confidence: medium
"the story of Urvagl, the nymph that loved a mortal (whence Kalidasa's great drama, Urvaci)."
The passage explicitly identifies a story about a nymph who loved a mortal.
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Buddhism in Translations (Harvard Oriental Series, Vol. 3) SEKMON NUMBER 1. / CHAPTER III. / KARMA AND REBIRTH. / INTRODUCTORY DISCOURSE.; lines 13707-13879 confidence: medium
She is conceived in a high-caste family of Savatthi, born with remembrance of previous existences, says she is Garland-wearer's wife, and makes offerings of perfumes and garlands praying for rebirth with him.
The reborn woman offers perfumes and garlands and gives alms with a prayer that these acts bring rebirth with Garland-wearer, whom she calls her husband.
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Buddhism in Translations (Harvard Oriental Series, Vol. 3) SEKMON NUMBER 1. / CHAPTER III. / KARMA AND REBIRTH. / INTRODUCTORY DISCOURSE.; lines 13881-14035 confidence: medium
The priests name her Husband-honorer; she works early and late, cares for the priests' hall, brings drinking water, spreads mats, prepares alms, and acquires fifty-six salutary qualities.
Her devotion and prayer are directed toward reunion with her husband, who is revealed to be Garland-wearer, a god; she is born again at his side.
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Buddhist Mahayana Texts (Sacred Books of the East, Vol. 49) BOOK III, 8-21. 29 / BOOK III, 22-35. 31 / BOOK III, 36-50. 33 / BOOK IV.; lines 1831-2021 confidence: medium
Women leave the city-garden to meet the prince as a bridegroom, pay homage with folded hands, and surround him gazing with love.
The prince is perceived as Kama or the moon, compared to the sun among Apsarasas, and approached by women in a grove with lotus and Padma imagery.
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Buddhist Suttas (Sacred Books of the East, Vol. 11) Chapter I. / ON KNOWLEDGE OF THE VEDAS. / ON KNOWLEDGE OF THE VEDAS. / OX KNOWLEDGE OF THE VEDAS.; lines 9359-9449 confidence: low
Gotama introduces a simile of a man longing for the most beautiful woman in the land; when asked whether she is a noble lady, Brahman woman, trader-class woman, or Śūdra, he answers no.
Gotama begins a simile about longing for the most beautiful woman without knowing who she is, using desire without knowledge as an analogy for ungrounded claims.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. I BAKA-JATAKA. / C. J. / NANDA-JATAKA. / LOSAKA-JATAKA.; lines 7409-7493 confidence: medium
Mitta-vindaka floats on the waves and encounters daughters of the gods in successive palaces of crystal, silver, jewels, and gold, with groups of four, eight, sixteen, and thirty-two; he leaves despite their instructions or words.
Mitta-vindaka dwells happily with numbered groups of daughters of the gods in precious palaces located in the ocean or among islands.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. I NANDIVISALA-JATAKA. / KAXHA-JATAKA. / MU.NIKA-JATAKA. / KULAVAKA- JATAKA.; lines 5808-5886 confidence: medium
Highborn keeps the Commandments, is reborn as daughter of Asura king Vepacittiya, chooses Sakka at an Asura husband-selection assembly because of prior love, and is taken by Sakka to the deva city.
Highborn chooses Sakka as husband because she is moved by love for him from a bygone existence, and Sakka carries her to the city of the Devas.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. III AVAIUYA-JATAKA. / SETA KETU- J AT A K A. / NERU-JATAKA. / ASANKA-JATAKA.; lines 9856-9935 confidence: medium
A forester sees the maiden, asks who she is, tells the king of her beauty, and guides the king with a four-division army to the hermitage, where the king asks to tend the ascetic's daughter.
The king hears of Asanka's beauty, comes with a four-division army, seeks to take her, and remains long enough for many in the army to suffer and die.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. VI J. VI. / MAHANARADAKASSAPA-JATAKA. / VIDHURAPANDITA- JATAKA. / J. VI. 9; lines 9163-9257 confidence: medium
Punnaka sets the Great Being on the Black Mountain and plans to kill him, take his heart's flesh, give it in the Naga world, obtain Irandati, and rise to the world of the gods.
Punnaka plans to take the Great Being's heart's flesh and give it in the Naga world in order to obtain Irandati, whom he desires.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. VI VESSANTARA-JATAKA. / J. VI. 17 / J. VI. 18 / INDEX.; lines 19056-19557 confidence: medium
"Loves of fairies for men 217"
The index explicitly includes Loves of fairies for men.
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The Jataka; or, Stories of the Buddha's Former Births, Vol. VI VIDHURAPANDITA- JATAKA. / J. VI. 9 / J. VI. 12 / J. VI. 13; lines 12887-12970 confidence: low
The visitor says that if a prince mated with a Candala woman, animal beings may also mate if they wish; he adds that Rathavati, a fairy, loved Vaccha and repeats that in love there is no unlikeness.
Rathavati is identified as a fairy who loved Vaccha, and the example is used to support the claim that unlike beings may love.
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The Mahavamsa, or The Great Chronicle of Ceylon CHAPTER IV / THE SECOND COUNCIL / CHAPTER V / THE THIRD COUNCIL; lines 6370-6513 confidence: medium
A forest dweller from Pataliputta loves the wood-nymph Kunti; she bears Tissa and Sumitta. Both brothers receive pabbajja from Mahavaruna and attain arahantship and six supernormal powers.
A forest dweller loves the wood-nymph Kunti, who bears Tissa and Sumitta; both sons later attain arahantship and six supernormal powers.
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mangaian
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Myths and Songs from the South Pacific CHAPTER I. / MYTHS OF CREATION. / THE BEGINNING OF ALL THINGS. / IMAGINARY REPRESENTATION OF VATEA.; lines 1040-1085 confidence: medium
Vatea repeatedly sees a beautiful woman in dreams; one account has him clutch and detain her as wife, while another has him wake to find no trace and search in vain.
Vatea repeatedly dreams of a beautiful woman, searches for her, catches her, and she becomes his wife after revealing that she sought to win him as husband.
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Myths and Songs from the South Pacific FIRST OFFSHOOT. / UNUUNU RUA. / SECOND OFFSHOOT. / A BACHELOR GOD IN SEARCH OF A WIFE.; lines 5382-5478 confidence: medium
Tane is introduced among Mangaia's principal gods; four gods named Tane are represented by wrapped iron-wood human forms. The principal Tane ranks after Rongo and Motoro, is called Vatea's fifth son, born in Avaiki, and the note glosses Tane as husband or generative principle with related worship across eastern Polynesia.
The passage introduces the myth as Tane's search for a wife, and Tane, a god, travels from Avaiki to Ukupolu and courts Tekura-i-Tanoa.
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Myths and Songs from the South Pacific INUINU RUA. / SECOND OFFSHOOT. / FOR THE FETE OF POTIKI, CIRCA I79O. / INUINU TAI. FIRST OFFSHOOT.; lines 12812-12934 confidence: medium
Ina is called "strangely fascinating" and "proficient"; she is addressed as "Lovely blossom, whose home is in the sky, Beloved wife of Full-Moon, I have beaten thee."
Ina is described as a lovely sky-dwelling figure and wife of Full-Moon.
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Myths and Songs from the South Pacific MAUI'S LAST AND GREATEST ACHIEVEMENT. / CHAPTER V. / TREE MYTHS. / THE MYTH OF THE COCOA-NUT TREE.; lines 3958-4068 confidence: high
Tuna says: "I am Tuna (eel), the god and protector of all fresh-water eels."
Tuna, a divine protector of freshwater eels, changes from eel to handsome youth and becomes Ina's lover or admirer.
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Myths and Songs from the South Pacific OF THE LONDON MISSIONARY SOCIETY. / WITH A PREFACE BY / F. MAX MULLER, M.A., / PREFACE.; lines 485-583 confidence: medium
Ina is identified as the moon; her mortal lover grows old and infirm and is sent back to earth to end his days, prompting comparison with Selene and Endymion and with Eos and Tithonos.
Ina is identified with the moon; her mortal lover grows old and infirm and is sent back to earth to die.
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Myths and Songs from the South Pacific PREFACE. / F. MAX MULLER. / INTRODUCTORY REMARKS. / CON TENTS.; lines 704-758 confidence: low
The miscellaneous section lists a bachelor god seeking a wife, Echo or the cave fairy, a reed-throwing prince, origin of kite-flying, Uti's torch or will-a-wisp, mosquitoes, the long-lived, human arts and inventions, perils of beauty, origin of pigs at Rarotonga, seeking for light, Rata's canoe, and a prayer or charm for a thief or murderer.
The miscellaneous section lists 'A bachelor god in search of a wife.'
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Myths and Songs from the South Pacific PROLOGUE TO THE DRAMATIC FETE OF POTIKI, / ON HIS ASSUMPTION OF THE TEMPORAL / SOVEREIGNTY, CIRCA 1790. / THE FAIRY OF THE FOUNTAIN.; lines 14058-14148 confidence: medium
The lovely captive becomes the cherished wife of the chief Ati, who fills the fountain with great stones so that his fairy spouse will not return to nether-world.
Ati, a chief, marries the fairy woman, who is praised as a divine being and bears his fair son.
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Myths and Songs from the South Pacific SECOND FOUNDATION. / UNUUNU RUA. / SECOND OFFSHOOT. / INA'S VOYAGE TO THE SACRED ISLE.; lines 4526-4608 confidence: medium
"Come bear me on thy back / To my royal husband Tinirau, / With him to live and die."
Ina asks to be carried to her royal husband Tinirau and is described as the intended bride of the god Tinirau while voyaging to the Sacred Isle.
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Myths and Songs from the South Pacific SECOND FOUNDATION. / UNUUNU RUA. / SECOND OFFSHOOT. / INA'S VOYAGE TO THE SACRED ISLE.; lines 4610-4760 confidence: high
Ina goes ashore, sees salt-water ponds and a fish-preserve in Tinirau’s dwelling, finds a wooden drum, beats it, and its sound reaches Tinirau at Pa-enua-kore.
Ina is found by Tinirau, a god and king of all fish, and becomes his cherished wife at his islet dwelling.
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Myths and Songs from the South Pacific SONG OF THE TWINS. / MATARIKI, OR PLEIADES. / THE SUN AND MOON. / THE WOMAN IN THE MOON.; lines 2631-2691 confidence: medium
The section is headed as the woman in the moon; Ina is the eldest daughter of Kui-the-Blind, and Marama (Moon) descends from heaven to fetch her as wife.
Marama, identified as Moon, descends from his heavenly place to fetch Ina to be his wife after becoming enamoured of her.
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Myths and Songs from the South Pacific SONG OF THE TWINS. / MATARIKI, OR PLEIADES. / THE SUN AND MOON. / THE WOMAN IN THE MOON.; lines 2631-2691 confidence: medium
An Atiu account says Ina took a mortal husband to her celestial abode; when he became old, she told him to return to earth to die, created a rainbow spanning the heavens, and he descended by it.
In the Atiu account, Ina sends her aged mortal husband back from her celestial abode to earth because death will claim him and her home must not be defiled by a corpse.
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Myths and Songs from the South Pacific UNUUNU RUA. / SECOND OFFSHOOT. / A BACHELOR GOD IN SEARCH OF A WIFE. / THE PRINCE OF REED-THROWERS.; lines 5772-5876 confidence: medium
Tangaroa sees Ina-nani-vai bathing at the stream Kapuue-rangi, becomes enamoured, descends by his rainbow girdle, and Ina later gives birth to Tarauri and Turi-the-Bald.
Tangaroa becomes enamoured of Ina while she bathes and descends to earth by his rainbow girdle.
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estonian
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country END OF THE KALEVIPOEG. / PART II / SECTION I / THE MILKY WAY.; lines 4171-4287 confidence: medium
The Northern Light comes from midnight in a diamond coach drawn by a thousand white horses with wealth and jewels; Lindu accepts him because he travels freely and appears in changing splendor.
Lindu accepts the Northern Light as bridegroom and their love continues, but Uko's placement of Lindu in heaven prevents the wedding and prevents the bridegroom from carrying her away.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE GALLOWS-DWARFS. / THE TREASURE AT KERTELL. / THE GOLDEN SNAKES. / THE NOCTURNAL CHURCH-GOERS.; lines 13620-13703 confidence: medium
The following night in the woods, the young man sees golden bathing benches, silver bath implements, and wood-nymph maidens, daughters of the Meadow-Queen, bathing in moonlight; they vanish before morning, never return, and he pines away.
After the serpent episode, the young man sees wood-nymph maidens bathing in moonlight, never sees them again, and pines away in hopeless longing.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE GIFTED BROTHERS. / THE IDIOT'S LUCK. / THE MAGICIAN'S HEIRS. / THE MAN IN THE MOON.; lines 9728-9825 confidence: medium
The Moon, ordered by the Creator to replace the setting sun and enlighten the world, forgets his duty and descends to Videvik at the stream.
The Moon woos Videvik, the Creator permits their wedding, and the Moon receives Videvik as wife.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE GIFTED BROTHERS. / THE IDIOT'S LUCK. / THE MAGICIAN'S HEIRS. / THE MAN IN THE MOON.; lines 9728-9825 confidence: high
In long summer nights, Koit and Ämarik join hands and kiss while birds sing, flowers blossom, trees flourish, and the world rejoices.
Koit and Ämarik meet and kiss during long summer nights, and choose to remain lover and beloved rather than marry.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE HERO OF ESTHONIA / THE KALEVIPOEG / CANTO I / THE MARRIAGES OF SALME AND LINDA; lines 1099-1237 confidence: high
Salme’s beauty draws many suitors, including mortal lovers, the Moon, the Sun, and the eldest son of the Pole Star.
Salme is courted by the Moon, the Sun, and the Youth of the Stars; she rejects the first two and accepts the Star.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE HERO OF ESTHONIA / THE KALEVIPOEG / CANTO I / THE MARRIAGES OF SALME AND LINDA; lines 1240-1363 confidence: medium
During the festivities, the Moon and then the Sun return in greater state to seek Linda's hand; Linda refuses both, and they depart sorrowfully.
Linda is sought by the Moon, Sun, Lord of the Waters, Wind, Prince of Kungla, and Kalev, and she chooses Kalev after refusing the others.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE IDIOT'S LUCK. / THE MAGICIAN'S HEIRS. / THE MAN IN THE MOON. / THE MAIDEN AT THE VASKJALA BRIDGE.; lines 9827-9903 confidence: medium
A pure maiden goes to the Vaskjala Bridge to bathe; the Moon looks down, loves her, and knows her unspoken longing to leave the world and dwell with him.
The maiden's purity wins the Moon's love; she wishes to depart the world and is later visible in the Moon, living above in joy.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE ROYAL HERD-BOY. / TIIDU THE FLUTE-PLAYER. / THE LUCKY EGG. / FOOTNOTES:; lines 8099-8241 confidence: medium
The Sun and Moon are male deities in Finnish and Estonian; in Kalevala Runo 11 the sun, moon, and a star seek Kyllikki's hand for their sons, but she rejects them as Salme does.
The sun, moon, and a star seek Kyllikki's hand for their sons and she rejects them; the note says Salme rejects them similarly.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE THREE WISHES. / THE WITCH-BRIDE. / THE STEPMOTHER. / THE FISHERMAN AND HIS WIFE.; lines 10161-10248 confidence: medium
The mermaid approaches, greets him, says a fateful dream warned her of his arrival, claims to have protected him before, and invites him to come with her for happiness and protection.
The mermaid presents herself as a female nonhuman protector and offers Sleepy Tony happiness if he comes with her as a companion.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE THREE WISHES. / THE WITCH-BRIDE. / THE STEPMOTHER. / THE FISHERMAN AND HIS WIFE.; lines 10250-10342 confidence: medium
In a large glass hall twelve fair maidens sit on silver chairs; the lady sits on one golden throne, places Sleepy Tony on the other, and declares him her beloved bridegroom and consort to be respected and obeyed.
The lady declares Sleepy Tony her beloved bridegroom and consort, seats him beside her on a golden throne, and later identifies herself as a daughter of the Water-Mother.
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The Hero of Esthonia and Other Studies in the Romantic Literature of That Country THE TWO BROTHERS AND THE FROST. / THE SONG-GOD'S DEPARTURE. / JUTTA. / THE TWELVE DAUGHTERS.; lines 10912-10990 confidence: medium
The queen says the eldest son of the King of the Winds was her lover, but because his father would not allow him to take a wife, their marriage had to remain secret while his father lived.
The Lady of the Waters says the eldest son of the King of the Winds was her lover and that their marriage was kept secret because his father forbade the union.
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korean
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Korean Folk Tales - Imps, Ghosts and Fairies CHARAN / CHARAN / CHARAN / CHARAN; lines 322-381 confidence: medium
Charan cries, rebukes her mother, says she can never give Keydong up, recalls that they were both sixteen when chosen to dance together, and says God chose them.
Charan declares that she and Keydong cannot be separated and says that God chose them when they were paired to dance.
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Korean Folk Tales - Imps, Ghosts and Fairies STRANGELY STRICKEN DEAD / THE MYSTERIOUS HOI TREE / TA-HONG / TA-HONG; lines 6536-6598 confidence: medium
At about sixteen, Sim goes with comrades to a Seoul banquet where dancing-girls are present, and hears that one beautiful young woman is named Ta-hong, meaning Flower-bud.
In his youthful recollection, Sim sees Ta-hong, a dancing-girl whose beauty is described as not earthly but angelic.
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Korean Folk Tales - Imps, Ghosts and Fairies THE HOME OF THE FAIRIES 113 / THE HOME OF THE FAIRIES 115 / THE HOME OF THE FAIRIES 117 / THE HOME OF THE FAIRIES 119; lines 3634-3697 confidence: medium
After two years of unbroken joy, the wife bears the man two sons.
The man describes himself as a former poor countryman who has become son-in-law of the king of the genii, and the passage depicts his wife and their two sons.
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Korean Folk Tales - Imps, Ghosts and Fairies THE HOME OF THE FAIRIES / THE HOME OF THE FAIRIES 113 / THE HOME OF THE FAIRIES 115 / THE HOME OF THE FAIRIES 117; lines 3568-3631 confidence: medium
Beautifully dressed women wait; the master's daughter arrives with attendants, jewels, beautiful clothing, and a pearl fan hiding her face, and her beauty dazzles the young man.
A young man from a country hut completes wedding rites with the master's daughter in a fairy or genii setting and becomes a sharer in fairy joys.
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Korean Tales HYUNG BO AND NAHL BO. / HYUNG BO AND NAHL BO. 97 / HYUNG BO AND NAHL BO. / HYUNG BO AND NAHL BO.; lines 3017-3079 confidence: low
“I am sent by the bird king to be this man’s concubine.”
The maiden says she was sent by the bird king to be Hyung’s concubine.
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Korean Tales THE ENCHANTED WINE-JUG . 55 / THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE. / CHING YUH AND NY A IN 00. 69; lines 2032-2153 confidence: medium
Uhh Hah dreams of the youth from the roadside, gazes at the fan whose characters are usually concealed, discovers the message, and concludes it is a heaven-arranged union.
Uhh Hah treats the fan message and earlier encounter as evidence of a heaven-arranged union and a mutual pledge.
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Korean Tales THE ENCHANTED WINE-JUG. / THE ENCHANTED WINE-JUG . 55 / THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE.; lines 1639-1762 confidence: high
Ching Yuh and Kyain Oo are star attendants of the Sun who marry, become absorbed in each other, and are banished by their master to opposite sides of the great river dividing the heavenly plains, identified as the Milky Way.
Two star attendants marry, are punished for excessive attachment, and are placed on opposite sides of the Milky Way with only rare meetings allowed.
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Korean Tales THE ENCHANTED WINE-JUG. / THE ENCHANTED WINE-JUG . 55 / THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE.; lines 1639-1762 confidence: high
The lovers are so far apart that travel takes six months each way; they can spend one short night together and can cross only when crows complete a bridge, carrying materials on their heads during the seventh moon.
Crows build the bridge that allows the separated heavenly lovers to cross the river at the appointed season.
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Korean Tales THE ENCHANTED WINE-JUG. / THE ENCHANTED WINE-JUG . 55 / THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE.; lines 1764-1891 confidence: high
The dream girl describes the annual union of Ching Yuli and Kyain Oo and says they mourn because they can see each other only once a year, unlike mortal pairs who live together constantly.
Ching Yuli and Kyain Oo have an annual union and must cross heaven's river by a bridge to reach each other.
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Korean Tales THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE. / CHING YUH AND NY A IN 00. 69 / CHING YUH AND NY A IN 00.; lines 2156-2281 confidence: medium
Pang Noo’s malady increases; he requests release from active service due to poor health and travels to Seoul hoping to find some trace of the woman absorbing his thoughts.
Pang Noo searches for Uhn Hah and becomes sick because he cannot find her; Uhn Hah’s dream places her among women whose tears flowed during searches for lovers and foretells reunion with her faithful lover.
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Korean Tales THE TRIALS OF TWO HEAVENLY LOVERS. / PRELUDE. / CHING YUH AND NY A IN 00. 69 / CHING YUH AND NY A IN 00.; lines 2284-2310 confidence: medium
The father “marvelled that heaven should have selected such an exemplary maiden for his son.”
The father explicitly marvels that heaven selected the exemplary maiden for his son.
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native american northwest coast
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Chinook Texts Chinook Texts; lines 572-656 confidence: medium
The brother finds a sea-lion, repeated sea-otters, and a whale; the sister says food is sent every night from people across the ocean, that supernatural people love her, and that her boy’s father came.
The sister says people across the ocean send food every night, calls them supernatural people who love her, and says her boy’s father came when the whale appears.
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Ethnology of the Kwakiutl, Part 2 FAMILY HISTORIES / FAMILY HISTORIES / FAMILY HISTORIES / KWKXAOII.A; lines 10767-10879 confidence: medium
The younger sister sees a handsome man at night; he asks whether her people starved, pities her, promises to make a salmon-weir, and becomes her husband.
A handsome man appears after the woman's expectation of a supernatural encounter, becomes her husband, makes a salmon-weir, hunts game, and creates food abundance.
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Haida Texts and Myths: Skidegate Dialect SUPERNATURAL-BEING-WHO-WENT-NAKED / HE-WHO-GOT-SUPERNATURAL-POWER-FROM-HIS-LITTLE-FINGER / THE STORY OF HIM WHOSE SISTER BROUGHT HIM FOOD FROM THE LAND OTTERS / HOW SOMETHING PULLED A ROW OF EAGLES INTO THE WATER; lines 12403-12496 confidence: medium
Two beautiful singing women approach, say they know the uncle's jealous plot, invite him to their father's country, and bring him to a large town; one is the chief's daughter and the other her slave, with the narrative identifying her as daughter of the Eagle.
Two singing women find the young man, know his uncle's plot, promise to look after him, and bring him to a large town; one is the chief's daughter and later his wife.
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Tlingit Myths and Texts FOOTNOTES: / FOOTNOTES: / FOOTNOTES: / FOOTNOTES:; lines 12294-12390 confidence: medium
The loon dives through the sea with the youth, moving farther out in stages; the youth’s hair grows again, he sees a village, is told he will marry the chief’s daughter, and receives his shells and marten robe restored.
The loon takes the youth to a distant village to marry the chief’s daughter, and her father is later identified as the Calm.
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Tlingit Myths and Texts FOOTNOTES: / FOOTNOTES: / FOOTNOTES: / FOOTNOTES:; lines 12815-12931 confidence: medium
The sun's sons had married a cannibal and formerly killed wives; they liked the new wife, killed the cannibal over a Tsimshian town, chopped her very fine, and the narration says this is why many cannibals came to be there.
The husbands are identified as the sun's sons, marry the woman, and appear as moonlight or sunbeams.
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Tsimshian Mythology BOAS J / TSIMSHIAN MYTHS / TSIMSHIAN MYTHS / JJJ J; lines 12140-12248 confidence: medium
At midnight the princess sees shining light come through the smoke hole with a young man who asks to marry her; he is Tsauda, a prince from heaven, with a slave named Halus and a garment of shining light.
Tsauda comes from heaven in shining light, descends through the smoke hole, and asks the princess to marry him.
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Tsimshian Mythology Tsimshian Mythology / TSIMSHIAN MYTHS / BOAS J; lines 9143-9237 confidence: high
A supernatural being asks the weeping woman why she is sad; she says her husband has married another princess. The being comforts her, asks her to love and marry him, and she agrees.
A supernatural being comforts the abandoned young woman, asks her to love and marry him, becomes her husband, and continues to visit and aid her.
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Tsimshian Mythology Tsimshian Mythology; lines 1021-1110 confidence: medium
Bright-Cloud Woman says to the dried Salmon, 'Come, my tribe, let us go back,' whistles, and all the dried Salmon fly out; TxamsEm's blond hair is scorched and his rough skin returns.
Bright-Cloud Woman, TxamsEm's wife, is revealed as cloudlike and departs with the dried Salmon, whom she calls her tribe, leaving TxamsEm without provisions.
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Tsimshian Texts Tsimshian Texts; lines 2040-2133 confidence: medium
In the evening a woman at the doorway asks whether She-who-has-a-labret-on-one-side entered the house, is told she married the chief's son, urges care for her, and says her people will bring much food.
The prince marries She-who-has-a-labret-on-one-side; her unseen mother is supernatural, and her people bring great quantities of food, skins, and copper plates.
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zuni
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Zuni Folk Tales A HOPI (MOKI) MAIDEN 184 / THE PINNACLES OF THUNDER MOUNTAIN 344 / INTRODUCTION / THE TRIAL OF LOVERS:; lines 602-702 confidence: medium
Many days pass before anyone else tries to woo the maiden; the narration says people did not know she was a Passing Being, and that fear of shame after the insect failures made them wait.
The narration calls the maiden a Passing Being, and the young man longs to approach her despite her hard tasks and her lack of interest in men except as brothers and friends.
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Zuni Folk Tales HOW THE SUMMER BIRDS CAME / THE SERPENT OF THE SEA / THE MAIDEN OF THE YELLOW ROCKS / THE FOSTER-CHILD OF THE DEER; lines 4146-4244 confidence: high
At Háwikuh, a very beautiful maiden lives under the care of her father, a great priest, who had devoted her to sacred things and kept her in the house away from men.
The Sun-father sees the secluded maiden, descends to her room along a beam of light, loves her, and wins her as wife.
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Zuni Folk Tales ITALIAN VERSION / THE GIANT CLOUD-SWALLOWER / THE MAIDEN THE SUN MADE LOVE TO, AND HER BOYS / OR, THE ORIGIN OF ANGER; lines 12292-12402 confidence: high
At noon the Sun looks through a small roof window, descends on a yellow trail made by his rays, talks to the girl, and is her lover and only companion.
The Sun is explicitly called the girl’s lover and only companion and descends on his own rays to speak with her while she remains hidden in her house.
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Zuni Folk Tales ITALIAN VERSION / THE GIANT CLOUD-SWALLOWER / THE MAIDEN THE SUN MADE LOVE TO, AND HER BOYS / OR, THE ORIGIN OF ANGER; lines 12869-12954 confidence: medium
The Sun tells the boys they are his children and their father; he describes the Home of the Eagles, a secluded maiden there, his midday visits in sunlight, and a great Eagle watching her.
The Sun says he visited the secluded maiden in his sunlight, and the boys are later identified as the children of the Sun and the maiden.
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Zuni Folk Tales ITALIAN VERSION / THE GIANT CLOUD-SWALLOWER / THE MAIDEN THE SUN MADE LOVE TO, AND HER BOYS / OR, THE ORIGIN OF ANGER; lines 13329-13449 confidence: high
The priest-chief’s beautiful daughter goes at daylight to gather squash-flowers; a voice sings about more beautiful flowers, and she finds a handsome young man where the skull had lain.
The same being appears as a skull in daylight and as a handsome young man at night, asks to be taken home, and becomes the daughter’s husband.
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Zuni Folk Tales ITALIAN VERSION / THE GIANT CLOUD-SWALLOWER / THE MAIDEN THE SUN MADE LOVE TO, AND HER BOYS / OR, THE ORIGIN OF ANGER; lines 13329-13449 confidence: high
The voice from the jar asks that all windows and doors be closed and raw cotton brought; at night the young man appears again, more handsome than before, and marries the girl.
The priest-chief’s daughter marries the young man, and he is explicitly described as a child of the Sun-father and a god.
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Zuni Folk Tales ITALIAN VERSION / THE GIANT CLOUD-SWALLOWER / THE MAIDEN THE SUN MADE LOVE TO, AND HER BOYS / OR, THE ORIGIN OF ANGER; lines 13451-13554 confidence: medium
The people ask who married the priest-chief’s daughter, call a council, and all young men deny being the husband.
The community cannot identify who married the priest-chief’s daughter and condemns the family; the husband is later shown as the Sun-father’s child and future god.
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Zuni Folk Tales THE PINNACLES OF THUNDER MOUNTAIN 344 / INTRODUCTION / THE TRIAL OF LOVERS: / THE YOUTH AND HIS EAGLE; lines 1673-1756 confidence: medium
The Eagle-wife says he entered the fearful country through curiosity, that his love will be tested, calls it “the city of the damned,” and tells him: “do not laugh or even smile once.”
The youth is married to an Eagle-maiden who gives a behavioral prohibition; after he violates it by laughing, she cries in woe and flies away with her people.
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Zuni Folk Tales THE TRIAL OF LOVERS: / THE YOUTH AND HIS EAGLE / THE POOR TURKEY GIRL / HOW THE SUMMER BIRDS CAME; lines 2168-2280 confidence: high
A God of the Rain descends through the maiden’s skylight in raindrops and on a ladder of water when dew falls, woos and marries her unseen, and she gives birth to a boy.
A Rain God secretly descends in rain and dew, woos the maiden, and marries her unseen by her people.
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ainu
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1719-1809 confidence: medium
In a second dream, the pine-tree goddess says he cannot stay long in the world of men after eating the grapes and mulberries of Hades; a goddess in Hades wishes to marry him and had assumed bear form to lure him underground.
The pine-tree goddess says a goddess in Hades wishes to marry the hunter, assumed bear form to lure him underground, and the hunter later returns to Hades and does not come back.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1719-1809 confidence: medium
In a second dream, the pine-tree goddess says he cannot stay long after eating Hades' fruit; a goddess in Hades wished to marry him and had assumed bear form to lure him underground.
The pine-tree goddess says a goddess in Hades assumed bear form, lured the hunter into the cavern and underworld, and wished to marry him.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1811-1905 confidence: high
The boy grows into a fine hunter. The mother learns in a dream that the sun's light through the roof opening caused conception; the god says he gave her a child because he loves her, she will become his wife after death, and their son will have many children.
In the dream, the god says he gave the woman a child because he loves her and that she will become his wife when she dies.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1811-1905 confidence: high
The woman learns that sunlight through the roof opening caused conception; in a dream a god says he gave her a child because he loves her, that she will become his wife after death, and that their son will have many children.
The god says he loves the woman and that when she dies she will truly become his wife.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1907-2004 confidence: high
The senior chief believes the deception, has himself buried up to the neck, dies, and afterward the badger-goddess marries the good man, who becomes senior of all chiefs.
After the senior chief dies, the badger-goddess marries the good man, who becomes senior of all the chiefs.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 1907-2004 confidence: high
The senior chief imitates the burial and dies; the badger-goddess comes to the village, marries the good man, and he becomes senior of all the chiefs.
After aiding the good man, the badger-goddess comes to the village and marries him.
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Aino Folk-Tales AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA. / II.--MORAL TALES. / IV.--MISCELLANEOUS TALES.; lines 2102-2199 confidence: medium
The rascal wears the old man's beautiful clothes and tells the chief that a river goddess loved him, caused his misdeeds, and wished to marry his spirit.
The rascal claims that a goddess in the river loves him and wants to marry his spirit, using this claim to persuade the chief to be drowned.
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Aino Folk-Tales HONORARY SECRETARIES. / INTRODUCTION. / AINO FOLK-LORE. / I.--TALES ACCOUNTING FOR THE ORIGIN OF PHENOMENA.; lines 715-800 confidence: medium
The woman tells the lad she is the bear-goddess, her husband is the jealous dragon-god, and the boy should ask to buy the woman rather than exchange treasures.
The bear-goddess instructs the boy to ask for her and later states that they can live together after the dragon-husband departs.
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armenian
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Armenian Legends and Poems ARTASHES AND SATENIK / MOSES OF KHORENE / MY DEATH / CONCERNING THE ROSE AND THE NIGHTINGALE; lines 1869-2029 confidence: low
The Nightingale greets the Rose as beloved, asks about her abduction, prays for her health and long life, praises her beauty and perfume, and says he mourns in spring while apart from her.
The Rose tells the Nightingale that if his love is perfectly with her, he should look for it in Paradise, while the Nightingale’s language includes worship and reverent devotion.
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Armenian Legends and Poems CHRIST AND ABGARUS / MOSES OF KHORENE / ARAXES CAME DEVOURINGLY / EARTH AND SKY; lines 2711-2782 confidence: medium
Sky, inflamed by passion and arrayed in night splendor, pours longing and desire into Earth's ear while turning and yearning toward her.
Earth's waters and mountains repeatedly rise toward the far-off loved one, while Sky turns, yearns, and weeps because Earth remains out of reach.
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Armenian Legends and Poems CONCERNING DEATH / LOVE ONE ANOTHER / ARMENIA: / ITS EPICS, FOLK-SONGS, AND MEDIAEVAL POETRY; lines 4351-4460 confidence: high
The love of Semiramis for Ara is described as a favorite theme of ancient Armenian song and epic, with variants still related in Armenia and associated place names and superstitions.
Semiramis loves Ara, receives his corpse after ordering him captured alive, and uses magic by placing his body on a high place for gods to restore it to life.
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Armenian Legends and Poems CONCERNING DEATH / LOVE ONE ANOTHER / ARMENIA: / ITS EPICS, FOLK-SONGS, AND MEDIAEVAL POETRY; lines 6277-6388 confidence: medium
Themes include rose and nightingale, nature, wedding of flowers, spring, dawn, and morning; love and beauty are equated; the beloved is imaged as spring breeze and as brighter than sun, moon, and stars.
The passage identifies rose-and-nightingale love as a theme and then personifies the Nightingale seeking the Rose, becoming intoxicated by her odor, while the Rose opens and sings her praise.
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Armenian Legends and Poems CONCERNING DEATH / LOVE ONE ANOTHER / ARMENIA: / ITS EPICS, FOLK-SONGS, AND MEDIAEVAL POETRY; lines 6516-6636 confidence: medium
A mysterious Flower is mourned, has fragrance filling earth and air, draws the love of other flowers, and causes some to wither while many blossom like the almond tree.
The Flower is sent by God, mourned by many, taken back by God, and honored in a place where flowers rejoice and bow.
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Armenian Legends and Poems I HAVE A WORD I FAIN WOULD SAY / THE SONG OF THE PARTRIDGE / FOLK SONG / THE LILY OF SHAVARSHAN; lines 1399-1512 confidence: medium
Princes from Persia, Albania, India, and Rome leave their palaces and admire Santoukhd, wishing to win the Armenian maid as bride.
Foreign princes desire Santoukhd as bride, Sky and Ocean offer cosmic honor, but the poem says a greater King alone is to have her and prepares halls of light for her.
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Armenian Legends and Poems VAHAGN, KING OF ARMENIA / MOSES OF KHORENE / HUNTSMAN, THAT ON THE HILLS ABOVE / LIBERTY; lines 663-718 confidence: medium
As an infant, the speaker is wrapped and bound in swaddling, reaches to embrace Liberty, lies sobbing in the cradle, asks his mother to unbind and free him, and vows to love Liberty.
Liberty is addressed directly as something to embrace and love; the voice describes the speaker as one who worships Liberty.
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finnish karelian
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Kalevala: The Epic Poem of Finland DR. J.D. BUCK, / AN ENCOURAGING AND UNSELFISH FRIEND, AND TO HIS AFFECTIONATE FAMILY, / THESE PAGES ARE GRATEFULLY INSCRIBED. / PREFACE; lines 960-1054 confidence: medium
The preface compares Finnish heroes with the Niebelungs, says they woo maidens of the North, and says they raid Lapland to possess the mysterious Sampo, likened to the Golden Fleece.
The passage says Finnish heroes woo the beauteous maidens of the North for brides.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 5211-5401 confidence: medium
Wainamoinen describes a Northland maiden who refuses lovers and is praised as the fairest maiden of Pohyola, with moonlight from her temples, sunshine from her breast, rainbow from her forehead, seven starlets on her neck, and the Great Bear from her shoulder.
The Northland maiden is praised as a bride of beauty and described with moonlight, sunshine, rainbow, starlets, and the Great Bear.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 5211-5401 confidence: medium
Wainamoinen describes a Northland maiden who refuses lovers, is praised for magic beauty, is daughter of earth and ocean, and bears moonlight, sunshine, rainbow, starlets, and the Great Bear in her appearance.
The maiden is praised as magically beautiful, called daughter of earth and ocean, and described with moonlight, sunshine, rainbow, starlets, and the Great Bear on her body.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 5797-5990 confidence: low
The Day-star, Moon, and Night-star woo the maiden for sons; she refuses Sun-land, Moon-land, and Star-land.
The Day-star, Moon, and Night-star woo the Sahri maiden for sons, and she refuses their celestial lands.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 5797-5990 confidence: medium
The Day-star, Moon, and Night-star each woo the maiden for a son; she refuses to go to Sun-land, Moon-land, or Star-land.
The Day-star, Moon, and Night-star woo the maiden for their sons, but she refuses Sun-land, Moon-land, and Star-land.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 9699-9886 confidence: high
Wainamoinen says he is sailing to Northland and dismal Sariola, where ogres live and drown heroes, to woo the Maid of Beauty sitting on the bow of heaven and bring her to Wainola.
Wainamoinen sails in a magic vessel to dismal Sariola, a dangerous place of ogres, in order to woo the Maid of Beauty described in heavenly and fairy terms.
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Kalevala: The Epic Poem of Finland PREFACE / JOHN MARTIN CRAWFORD. / THE KALEVALA. / PROEM; lines 9699-9886 confidence: medium
Wainamoinen admits deception and says: "I am sailing to the Northland / To the dismal Sariola... / There to woo the Maid of Beauty"; he describes Sariola as an ogre land where worthy heroes are drowned.
The bride is called the Maid of Beauty, fairy virgin, Maid of the Rainbow, and is said to sit on the bow of heaven; Wainamoinen seeks her while Annikki identifies her as Ilmarinen's affianced bride.
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celtic welsh
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The Mabinogion C. E. G. / THE LADY OF THE FOUNTAIN / PEREDUR THE SON OF EVRAWC / GERAINT THE SON OF ERBIN; lines 4023-4092 confidence: medium
The lady asks the king about concealed children; the king summons his son; the stepmother declares that the youth must obtain Olwen, daughter of Yspaddaden Penkawr, and the father directs him to seek Arthur's boon.
The youth is told that he cannot have a wife until he obtains Olwen, and he immediately loves her though he has never seen her.
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The Mabinogion C. E. G. / THE LADY OF THE FOUNTAIN / PEREDUR THE SON OF EVRAWC / GERAINT THE SON OF ERBIN; lines 4398-4488 confidence: medium
Olwen is described in flame-coloured silk and a ruddy gold collar with emeralds and rubies. Her beauty is compared to broom flowers, wave foam, anemones, hawks, falcons, swans, and roses; all who behold her are filled with love, and four white trefoils spring wherever she treads.
Olwen's appearance inspires love in all who behold her, and four white trefoils spring up wherever she treads.
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The Mabinogion GERAINT THE SON OF ERBIN / THE DREAM OF RHONABWY / PWYLL PRINCE OF DYVED / THE DREAM OF MAXEN WLEDIG; lines 8240-8329 confidence: medium
The emperor tells the wise men of Rome that he saw a maiden in a dream and has no life, spirit, or existence because of her; they advise sending messengers for three years to the three parts of the world to seek the dream.
The emperor sees a maiden in a dream, loses normal vitality because of her, sends messengers to seek the dream, and eventually travels to her and marries her.
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The Mabinogion INTRODUCTION / C. E. G. / THE LADY OF THE FOUNTAIN / PEREDUR THE SON OF EVRAWC; lines 2073-2161 confidence: medium
A fair lady on a mound says Peredur is going to encounter the Addanc, which kills by craft from behind a stone pillar with a poisonous dart; after Peredur pledges to love her above all women, she gives him a stone that lets him see the Addanc while unseen, says to seek her toward India, and vanishes.
The beautiful lady offers a stone that grants tactical sight in exchange for Peredur pledging to love her above all women, then vanishes.
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The Mabinogion PEREDUR THE SON OF EVRAWC / GERAINT THE SON OF ERBIN / THE DREAM OF RHONABWY / PWYLL PRINCE OF DYVED; lines 6075-6159 confidence: medium
The maiden says she journeys on her own errand, is glad to see Pwyll, says her chief quest was to seek him, and identifies herself as Rhiannon, daughter of Heveydd Hên.
Rhiannon says her chief quest was to seek Pwyll, declares love for him, rejects a husband chosen against her will, and asks him to pledge a future meeting before she is given to another.
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The Mabinogion PEREDUR THE SON OF EVRAWC / GERAINT THE SON OF ERBIN / THE DREAM OF RHONABWY / PWYLL PRINCE OF DYVED; lines 6075-6159 confidence: medium
Rhiannon says her chief quest was to seek Pwyll, identifies herself as the daughter of Heveydd Hn, and says others sought to give her to a husband against her will, but she loves Pwyll.
Rhiannon says her chief quest was to seek Pwyll, says she loves him, and refuses another husband unless Pwyll rejects her.
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gnostic
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Fragments of a Faith Forgotten BARDESANES. 403 / BARDESANES. 405 / THE HYMN OF THE ROBE OF GLORY. / THE HYMN OF THE ROBE OF GLORY. 407; lines 20989-21092 confidence: medium
The speaker’s robe and purple toga are made; a compact is written in his heart: if he goes down into Egypt and brings the pearl from the sea near the serpent, he will put on the robe and inherit the kingdom with his Brother.
The speaker receives a loving commission from unnamed royal figures, later remembers himself as a son of kings, and is promised inheritance in their kingdom.
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Fragments of a Faith Forgotten EGYPT. 65 / PHILO ON THE CONTEMPLATIVE LIFE. / E S68B3. T) 6 . / PHILO ON THE CONTEMPLATIVE LIFE. 67; lines 7622-7701 confidence: medium
The Therapeuts are taught to see, strive for intuition of That which is, transcend the perceived sun toward the Light beyond, enter divine service through heavenly love like Bacchic and Corybantic initiates, and are afire with God until beholding the object of love.
Their divine service is motivated by heavenly love, compared to Bacchic and Corybantic Mysteries, and described as being afire with God until beholding the object of love.
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Fragments of a Faith Forgotten FOREWORD. / FOREWORD. 417 / FROM THE ACTS OF THOMAS. 419 / FROM THE ACTS OF THOMAS.; lines 21546-21628 confidence: medium
Her bridal chamber streams with light and fragrant balsam, herbs, myrrh, plants, myrtle wreaths, and flowers; her bridal couch is decked with reeds.
The Maiden/Sophia is depicted in a bridal setting with attendants who await the Bridegroom, who is associated with filling them with light.
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Fragments of a Faith Forgotten THE SOPHIA-MYTHUS. 339 / THE SOPHIA-MYTHUS. 341 / THE SOPHIA-MYTHUS. 343 / THE SOPHIA-MYTHUS. 345; lines 18514-18592 confidence: medium
The Common Fruit of the Pleroma is named Jesus and called the great High Priest; Wisdom-without-the-Pleroma seeks the Christ who enformed her and the Holy Spirit and is terrified that she may perish after the enformer withdraws.
Wisdom-without seeks the Christ who enformed her and the Holy Spirit after their departure; the Common Fruit is sent to be her consort and corrector.
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Fragments of a Faith Forgotten THE SOPHIA-MYTHUS. 345 / THE SOPHIA-MYTHUS. 347 / THE SOPHIA-MYTHUS. 349 / THE SOPHIA-MYTHUS 351; lines 18760-18835 confidence: medium
Wisdom-without is identified with Jerusalem Above; her bridegroom is the Common Fruit of the Pleroma; together they emanate Words or heavenly angels, citizens of Jerusalem Above.
The Common Fruit of the Pleroma, called the Word, is described as the bridegroom of Wisdom-without/Jerusalem Above.
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Fragments of a Faith Forgotten VALENTINUS. 299 / VALENTINUS. 301 / VALENTINUS. 303 / VALENTINUS. 305; lines 16913-17006 confidence: medium
The fragment says teachings in public volumes are found in the Church of God; common teachings are words from the heart and law written in the heart; this is the People of the Beloved who are loved by and love Him.
The fragment speaks of words from the heart, law written in the heart, and the People of the Beloved who love and are loved by Him.
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native american plateau
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Myths of the Modocs CHARACTERS / MYTHS OF THE MODOCS 195 / MYTHS OF THE MODOCS 197 / MYTHS OF THE MODOCS 199; lines 10299-10398 confidence: medium
After the elder sister runs away, Wamanik becomes a nice-looking man, says he is a spirit of the earth, says he can be many things and can turn to a snake, asks the younger girl to be his wife, and turns back into a snake when others approach.
Wamanik calls himself a spirit of the earth, asks for the younger girl as wife, and is later identified as the husband of Wiskak's daughters.
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Traditions of the Thompson River Indians of British Columbia INTRODUCTION. / COLLECTED BY JAMES TEIT. / I, THE COYOTE AND THE FLOOD. / VI. THE ORIGIN OF THE DEER.; lines 3782-3888 confidence: medium
In 'The Sun and His Daughter,' the Sun is formerly a powerful and rich chief at Lytton with a beautiful daughter; a magic-powerful and brave man from the east learns of her through his protecting spirit and sets out to marry her.
The powerful eastern man seeks the Sun’s beautiful daughter, gives presents, finds favor with the Sun, and obtains her as wife.
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Wishram Texts INTRODUCTORY NOTE. / EDWARD SAPIR. / DAUGHTER.3 / V. MISCELLANEOUS MYTHS.; lines 7675-7792 confidence: low
In the opening of 'Five Stars Visit the Earth,' five girls look at five stars and each wishes for one as a husband; the stars had visited them the night before without being recognized.
Five girls wish for five stars as husbands, and the text states the stars had visited the girls the night before without being recognized.
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Wishram Texts INTRODUCTORY NOTE. / EDWARD SAPIR. / DAUGHTER.3 / V. MISCELLANEOUS MYTHS.; lines 7908-8025 confidence: high
The boy enters a bright shining house near a black smoky house, is fed, sees First-Blush-of-Morning, and is protected from black-house people. The passage identifies the place as Sun's house and the hostile people as Death's people.
The young man marries First-Blush-of-Morning, who is identified as Sun's daughter.
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Wishram Texts JEREMIAH CURTIN / INTRODUCTORY NOTE. / EDWARD SAPIR. / DAUGHTER.3; lines 6283-6401 confidence: medium
At night the boy feels cold, wakes to a person beside him, finds a mountain-sheep-skin blanket over him, sees a woman at his side, and is in a beautiful house with skins and carving.
Itcli'xyan's daughter comes out of the water, lies beside the young man, makes a house, and food from the river is later said to come for his wife.
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Wishram Texts X', C / VVISHRAM TEXTS / EDWARD SAPIR. / I. - - MYTHS.; lines 3296-3434 confidence: medium
The boy finds ground roasted fish in a hollow vessel at his fish-line, sings “my feathered cloak waves freely over me,” and the passage says ItclE'xyan's virgin daughter had given him food.
ItclE'xyan's daughter gives the boy food, appears as a beautiful woman with rich adornment and abundant fish, and marries him.
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samoan
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Samoa, A Hundred Years Ago And Long Before CHAPTER V. / GODS INFERIOR, OR HOUSEHOLD GODS. / CHAPTER VI. / THE PEOPLE--INFANCY AND CHILDHOOD.; lines 2301-2405 confidence: medium
The girl urges the boy to seek another home; they wander and call at the house of Tangaloa of the heavens, where Tangaloa takes the girl and marries her.
The siblings visit the house of Tangaloa of the heavens, and Tangaloa takes the girl and marries her.
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Samoa, A Hundred Years Ago And Long Before CHAPTER VI. / THE PEOPLE--INFANCY AND CHILDHOOD. / CHAPTER VII. / ADULT AND ADVANCED YEARS.; lines 2764-2888 confidence: medium
Siati, a youth noted for singing, is challenged by a serenading god who promises him his daughter if Siati is the better singer; Siati wins and travels to the god's land on his aunt's shark.
A serenading god challenges Siati, promises his daughter if Siati sings better, and Siati later marries Puapae, the god's daughter.
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Samoa, A Hundred Years Ago And Long Before CHAPTER VI. / THE PEOPLE--INFANCY AND CHILDHOOD. / CHAPTER VII. / ADULT AND ADVANCED YEARS.; lines 2764-2888 confidence: high
The shark sets Siati down and sends him to the bathing-place. Puapae, also called White Fish, returns for her comb, meets Siati, warns him not to eat what her father hands him or sit high lest death follow, and marries him.
Puapae warns Siati about her father, builds the demanded house, and retrieves the ring from the sea when Siati despairs.
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Samoa, A Hundred Years Ago And Long Before CHAPTER VI. / THE PEOPLE--INFANCY AND CHILDHOOD. / CHAPTER VII. / ADULT AND ADVANCED YEARS.; lines 2764-2888 confidence: medium
Puapae tells Siati that her father and sister died because of her love for him and permits him to visit family and friends if he behaves properly. Siati forgets her, attempts to marry again, is confronted by Puapae, remembers, follows her crying, and dies.
After Puapae saves Siati and warns him, he forgets her, attempts another marriage, is reproached by her, remembers her aid, follows her, and dies.
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Samoa, A Hundred Years Ago And Long Before CHAPTER XVII. / WARS. / CHAPTER XVIII. / THE HEAVENS, AND THE HEAVENLY BODIES.; lines 5106-5159 confidence: medium
When Luamaa’s turn came, Ui offered herself instead; the sun saw Ui, desired to live with her, ended the sacrifices, and took her as wife.
The sun desires Ui, takes her as wife, and ends the sacrifices.
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Samoa, A Hundred Years Ago And Long Before NAMES OF THE ISLANDS. / FOOTNOTES: / CHAPTER XXI. / POLITICAL DIVISIONS AND PLACES OF NOTE ON UPOLU.; lines 5837-5942 confidence: high
Sinaleana, daughter of Sina and the king of Manu'a, is called White of the cave and lives in a cave with the king's parrot. Tangaloa of the heavens desires her, sends Thunder, Storm, Lightning, Darkness, and Deluging Rain unsuccessfully, then lowers a net over the cave mouth, catches her, pulls her to heaven, marries her, and fathers Pili.
Tangaloa of the heavens desires Sinaleana, sends forces to get her, then catches her in a net at the cave and pulls her up to become his wife.
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siberian
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Aboriginal Siberia - A Study in Social Anthropology F 2 / CHAPTER IV / MAEKIAGE 71 / MARKIAGE 73; lines 5289-5384 confidence: medium
The Ainu section cites a tale in which a young man goes outside his village to visit a woman he wants to marry; a rival suitor later proves to be a sea-god, and the parents are uncertain because the suitors' inlaid pipes and marks suggest the same locality.
In the Ainu tale summary, a rival suitor for a young woman turns out to be a sea-god.
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Chukchee Mythology BOGORAS, CHI / I2. 2 / I3- 1 / IV. TALES OF RUSSIANIZED NATIVES.; lines 6821-6896 confidence: high
Raven tells the boy to pass three settlements of Reindeer people, go to the Sun's golden-shining house, request the Sun's ill daughter as wife, and imitate Raven's three breaths to heal her.
The young man heals the Sun's dying daughter after asking for her in marriage instead of a rich reward, and the Sun consents.
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Chukchee Mythology Chukchee Mythology / part in the thanksgiving ceremonial. / BOGORAS, CHI; lines 3261-3443 confidence: high
The dead father tells the youngest son to seek the girl of the Upper People, calls iron-footed reindeer from the east, and the young man attempts to climb a vertical mountain, but the reindeer are spent and their hoofs wear out.
The young man is told to sue for the girl of the Upper People, climbs a vertical mountain upward, marries her, and is later said by his brothers to have married among real gods if the claim is true.
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Chukchee Mythology Chukchee Mythology / part in the thanksgiving ceremonial. / BOGORAS, CHI; lines 3261-3443 confidence: medium
The brothers ask him to prove he has married among real gods by bringing a polar bear; the wife tells him to go westward and use her whip, and he kills the polar bear by striking its head.
When the brothers demand dangerous animals as proof of the marriage among real gods, the wife instructs the young man and gives him a whip that he uses to kill the bears.
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Chukchee Mythology part in the thanksgiving ceremonial. / BOGORAS, CHI / I2. 2 / I3- 1; lines 5608-5700 confidence: medium
The woman and Sun-Man live together and have a son and two more children; later he tells her to go back to her native country with the children, promising food and shelter during the journey.
The older wife and Sun-Man live together and have a son and two additional children.
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slavic
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Myths and Folk-tales of the Russians, Western Slavs, and Magyars RUSSIAN MYTHS AND FOLK-TALES. / THE THREE KINGDOMS,--THE COPPER, THE SILVER, AND THE GOLDEN. / IVAN TSAREVICH, THE FIRE-BIRD, AND THE GRAY WOLF. / THE FEATHER OF BRIGHT FINIST THE FALCON.; lines 2060-2178 confidence: medium
The father crosses the daughter and sends her to her room; she puts the red flower in water, opens the window, and Bright Finist flies in, strikes the floor, and becomes a young man.
Bright Finist visits the youngest daughter at night when the little red flower is placed at the window, and he is presented as her loved or fated one.
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Myths and Folk-tales of the Russians, Western Slavs, and Magyars THE FEATHER OF BRIGHT FINIST THE FALCON. / WATER OF YOUTH, WATER OF LIFE, AND WATER OF DEATH. / THE FOOTLESS AND BLIND CHAMPIONS. / THE THREE KINGDOMS.; lines 3466-3586 confidence: low
Ivan and the Tsaritsa of the Golden Kingdom talk for a long time, fall deeply in love, and part unwillingly.
Ivan and the Tsaritsa of the Golden Kingdom converse, fall in love, and are reluctant to part.
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Myths and Folk-tales of the Russians, Western Slavs, and Magyars THE POOR MAN, AND THE KING OF THE CROWS. / THE USELESS WAGONER. / MIRKO, THE KING'S SON. / THE REED MAIDEN.; lines 13251-13331 confidence: medium
The old woman cuts out three golden hairs, explains that a fairy gave them to the king's son's father, gives them with a latch-string, and directs the king's son to a mountain that supports the heavens to summon a steed.
The old woman says a fairy fell in love with the king's son's beautiful father and gave him the wondrous hairs that the son inherited.
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Myths and Folk-tales of the Russians, Western Slavs, and Magyars THE POOR MAN, AND THE KING OF THE CROWS. / THE USELESS WAGONER. / MIRKO, THE KING'S SON. / THE REED MAIDEN.; lines 13333-13433 confidence: medium
Dawn appears after the darkness parts, is identified as the daughter of the Sun, seats the prince on her winged steed, and flies across the vault of heaven.
Dawn, identified as the Sun's daughter, favors and hosts the king's son, then gives him a boxed burning ray that later lights the dark island.
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Sixty Folk-Tales from Exclusively Slavonic Sources LVII.--THE FRIENDSHIP OF A VILA AND OF THE MONTHS. / LVIII.--THE FISHERMAN'S SON. / LIX.--THE WHITE SNAKE. / LX.--THE VILA.; lines 9770-9822 confidence: high
“I am a Vila. But you must never utter my name; if you speak my name Vila, I must quit you at once.”
The bride identifies herself as a Vila and makes the marriage conditional on the husband never uttering her name; when he does, she vanishes.
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buryat mongol
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A Journey in Southern Siberia, the Mongols, Their Religion and Their Myths CHAPTER XI / MYTHS CONNECTED WITH MONGOL RELIGION / THE IRON HERO / ASHIR BOGDO; lines 8622-8714 confidence: medium
The Tengeri asks why an earth creature has come; Ashir says he has come for the daughter. The Tengeri reads Ashir's book for three days, Ashir reads the Tengeri's book for fifteen days, and Ashir is then admitted to see the bride.
Ashir states that he has come for the Tengeri's daughter, gains access through the Tengeri's test, and a wedding feast is held among the people of the sky.
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A Journey in Southern Siberia, the Mongols, Their Religion and Their Myths ESEGE MALAN AND MOTHER EARTH / THE GODS OF THE BURIATS 125 / CHAPTER XI / MYTHS CONNECTED WITH MONGOL RELIGION; lines 7134-7262 confidence: medium
When the boy is five months old he walks; Gesir then travels around the whole world for twelve years, visits Gal Tulan Tengeri, falls in love with Gal's beautiful daughter, and promises to return for her as second wife.
During his world journey, Gesir visits Gal Tulan Tengeri, translated as Fiery Red Sky, falls in love with Gal's daughter, and intends to bring her home as a second wife.
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A Journey in Southern Siberia, the Mongols, Their Religion and Their Myths THE GODS OF THE BURIATS 125 / CHAPTER XI / MYTHS CONNECTED WITH MONGOL RELIGION / THE IRON HERO; lines 8213-8345 confidence: medium
The bride is in the seventieth chamber, is described as radiant, says she made many difficulties to test the Iron Hero, and hears his explanation for appearing as an old man.
The bride says she created many of the difficulties to test whether the Iron Hero could overcome them.
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A Journey in Southern Siberia, the Mongols, Their Religion and Their Myths THE GODS OF THE BURIATS 125 / CHAPTER XI / MYTHS CONNECTED WITH MONGOL RELIGION / THE IRON HERO; lines 8213-8345 confidence: medium
The bride is in the seventieth chamber, is described as radiant, says she made many difficulties to test the Iron Hero, and hears his explanation for appearing as an old man.
The bride's appearance is described through sun and moon effects visible to eastern and western people.
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filipino
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Philippine Folk Tales Philippine Folk Tales / PREFACE / CONTENTS / TINGUIAN; lines 1198-1325 confidence: high
Gaygayoma identifies herself as daughter of Bagbagak and Sinag up in the air, says she will take Aponitolau to the sky to marry him, threatens that stars will eat him if he refuses, and travels with him in a basket to the sky, where her giant-star father receives him.
Gaygayoma, a star-connected spirit from the air, compels Aponitolau to go to the sky to marry her under threat from the companion stars.
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Philippine Folk Tales Philippine Folk Tales / PREFACE / CONTENTS / TINGUIAN; lines 1198-1325 confidence: medium
Aponitolau remembers Aponibolinayen and asks to return to earth; Gaygayoma permits one moon under threat, lowers him to earth in the basket, and Aponibolinayen joyfully receives him after believing him dead.
Aponitolau alternates between Aponibolinayen on earth and Gaygayoma in the sky, making many trips while returning to the sky at Gaygayoma's command.
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Philippine Folk Tales Philippine Folk Tales / PREFACE / CONTENTS / TINGUIAN; lines 427-544 confidence: medium
Ini-init cooks rice and fish; Aponibolinayen wakes, leaves the house for the betel-nut tree, and Ini-init later goes to shine in the sky as his work.
The passage identifies Ini-init as the Sun whose work is shining in the sky, and states that Aponibolinayen and the Sun marry.
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Philippine Folk Tales Philippine Folk Tales / PREFACE / CONTENTS / TINGUIAN; lines 546-660 confidence: medium
A betel-nut goes up to the Sun in his house, threatens to grow on his head if he refuses, then grows on the Sun and his pig until he agrees to go.
Ini-init is summoned as the Sun from above, arrives as a large stone, and at home becomes a handsome man, remaining Aponibolinayen's husband.
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guiana amerindian
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An Inquiry into the Animism and Folk-Lore of the Guiana Indians BUREAU OF AMERICAN ETHNOLOGY / THIRTIETH ANNUAL REPORT PLATE 4 / THE KAIETEUR FALL / THE SPIRITS OF THE WATER; lines 7426-7487 confidence: medium
Oriyu appears as the 'real Spirit of the Water' with beautiful hair entangled in the line; the man gets her into his boat.
A female Spirit of the Water becomes a human man's wife on condition that her origin not be divulged.
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An Inquiry into the Animism and Folk-Lore of the Guiana Indians BUREAU OF AMERICAN ETHNOLOGY / THIRTIETH ANNUAL REPORT PLATE 4 / THE KAIETEUR FALL / THE SPIRITS OF THE WATER; lines 7426-7487 confidence: medium
The text states that, like forest spirits, Oriyus have strong sexual predilections and may come nightly in anthropomorphic male or female form after Indians of the opposite sex.
Male and female Oriyus visit humans of the opposite sex at night; these relationships require secrecy and exclusivity.
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An Inquiry into the Animism and Folk-Lore of the Guiana Indians BUREAU OF AMERICAN ETHNOLOGY / THIRTIETH ANNUAL REPORT PLATE 4 / THE KAIETEUR FALL / THE SPIRITS OF THE WATER; lines 7489-7534 confidence: medium
At night, while the wife sleeps, the Water Spirit visits; after she wakes, he identifies himself, says he loves her and will take her as wife, and tells her to blame her husband and leave his home.
The Water Spirit visits the woman while she sleeps, declares love, says he will take her as wife, and separates her from her human husband.
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Legends and Myths of the Aboriginal Indians of British Guiana IDEAS OF A FUTURE STATE. / ARAWANILI AND THE OREHU. / THE LEGEND. / ABORIGINAL TRIBES OF GUI AN A.; lines 1188-1258 confidence: medium
Arawanili owed his power to her; rich gifts were bestowed by her love.
The Orehu or Spirit of the sea is linked to love, gifts, power, and teaching given to Arawanili.
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inca
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Narratives of the Rites and Laws of the Yncas A NAEEATIVE / COLLECTED / CHAPTER I. / CHAPTER 11.; lines 5886-5899 confidence: medium
The heading states that the account of Coniraya continues and tells how he became enamoured of the goddess Cavillaca.
The chapter heading says Coniraya became enamoured of the goddess Cavillaca.
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Narratives of the Rites and Laws of the Yncas A NAEEATIVE / COLLECTED / CHAPTER I. / CHAPTER II.; lines 5272-5284 confidence: medium
"the account of Coniraya is continued, and how he became enamoured of the goddess Cavillaca"
The chapter heading says Coniraya became enamoured of the goddess Cavillaca.
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Narratives of the Rites and Laws of the Yncas COLLECTED / CHAPTER I. / CHAPTER 11. / OF THE INDIANS OF HUAROCHIRT. 125; lines 5902-5978 confidence: medium
Cavillaca feels shame and annoyance, snatches up the child, calls the identified father a poor and filthy creature, turns away, and flees toward the seashore.
After Cavillaca flees in shame, Coniraya puts on golden robes, pursues her, and calls for her to see his beauty and gallantry.
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Narratives of the Rites and Laws of the Yncas OF THE INDIANS OF HUAROCHIRI. 141 / CHAPTER VI. / OF THE INDIANS OP HUAROCHIRI. 143 / CHAPTER VII.; lines 6028-6051 confidence: low
“How Pariacaca gave water in abundance to the Indians of the Ayllu Copara, for their fields; how he became enamoured of Choque Suso, an idol which is still very famous.”
The heading says Pariacaca became enamoured of Choque Suso, described as an idol; the body also says Pariacaca was captivated by a beautiful girl’s charms.
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jewish christian
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Deuteronomy Chapter 21 / Chapter 22 / Footnotes / Chapter 23; lines 1346-1402 confidence: medium
Ammonites and Moabites failed to meet Israel with bread and water and hired Balaam to curse; Yahweh turned the curse into blessing because he loved the people, and the people are told not to seek their peace or prosperity.
Balaam is hired to curse Israel, but Yahweh refuses to listen and turns the curse into a blessing because Yahweh loved the people.
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Deuteronomy Chapter 31 / Chapter 32 / Footnotes / Chapter 33; lines 2004-2067 confidence: high
“The beloved of Yahweh will dwell in safety by him. He covers him all day long. He dwells between his shoulders.”
Benjamin is called the beloved of Yahweh and is described as dwelling safely, covered all day, and dwelling between Yahweh’s shoulders.
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Deuteronomy Chapter 5 / Footnotes / Chapter 6 / Chapter 7; lines 536-588 confidence: medium
The people are called holy and chosen as Yahweh’s own possession; Yahweh loves them, keeps the oath to the fathers, and redeemed them from bondage under Pharaoh.
The addressed people are said to be loved and chosen by Yahweh as his own possession, not because of their numbers but because of love and the oath to the fathers.
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Genesis Footnotes / Chapter 38 / Footnotes / Chapter 39; lines 2579-2630 confidence: medium
Yahweh is with Joseph; Joseph prospers in his Egyptian master’s house, and the master sees that Yahweh makes Joseph’s actions prosper.
The passage repeatedly says Yahweh is with Joseph, causes his work to prosper, blesses Potiphar’s house for Joseph’s sake, and gives Joseph favor in prison.
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maori
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Polynesian Mythology and Ancient Traditional History of the New Zealand Race THE CHILDREN OF HEAVEN AND EARTH. 13 / THE CHILDREN OF HEAVEN AND EARTH. 15 / THE LEGEND OF MAUL 43 / THE LEGEND OF MAUT. 55; lines 2242-2381 confidence: high
Reports of Tawhaki's courage and beauty reach a young maiden of the heavenly race; she descends from the heavens at night, lies beside the sleeping Tawhaki, and leaves before dawn.
A maiden from the heavenly race descends to Tawhaki at night, visits him repeatedly, conceives, reveals herself, and lives with him as his second wife.
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Polynesian Mythology and Ancient Traditional History of the New Zealand Race THE CHILDREN OF HEAVEN AND EARTH. 13 / THE CHILDREN OF HEAVEN AND EARTH. 15 / THE LEGEND OF MAUL 43 / THE LEGEND OF MAUT. 55; lines 2384-2512 confidence: medium
Tango-tango hears the baby insulted, cries, rises with the child toward the sky, pauses on a carved ridge-pole figure, and refuses Tawhaki's plea to return.
Tango-tango, later identified as coming from heaven, leaves Tawhaki and rises skyward with their child, refusing to return.
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Polynesian Mythology and Ancient Traditional History of the New Zealand Race THE CHILDREN OF HEAVEN AND EARTH. 9 / THE CHILDREN OF HEAVEN AND EARTH. 1 1 / THE CHILDREN OF HEAVEN AND EARTH. 13 / THE CHILDREN OF HEAVEN AND EARTH. 15; lines 883-1004 confidence: medium
Heaven remains separated from spouse Earth; Earth's warm sighs are mists, and Heaven's tears are dew-drops.
Heaven and Earth are spouses who remain separated, while Earth's sighs become mists and Heaven's tears become dew.
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Polynesian Mythology and Ancient Traditional History of the New Zealand Race THE LEGEND OF MAUL 43 / THE LEGEND OF MAUT. 55 / THE SWING. / THE LEGEND GF TAWHAKI. 73; lines 2661-2748 confidence: medium
The hidden brothers-in-law think the worker may be the old man but then say he is not like him and must be a demi-god; they ask Tangotango to describe her husband, and her description matches the man seen.
Tangotango's description of her husband matches the revealed figure, and she questions the disguised old man until he assents that he is Tawhaki; the same passage marks him as demi-god or god.
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mongol
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Sagas from the Far East TALE I. / THE WOMAN WHO SOUGHT HER HUSBAND IN THE PALACE OF ERLIK KHAN. / TALE II. / THE GOLD-SPITTING PRINCE.; lines 1137-1235 confidence: medium
A beautiful many-coloured bird enters, circles three times in the scented vapour, becomes Cuklaketu, a beautiful son of the gods, and embraces and feasts with the Princess.
Cuklaketu is called a son of the gods, meets the Princess in intimate secrecy, and later says the Khan has won her from him by might.
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Sagas from the Far East THE PRAYER MAKING SUDDENLY RICH. / TALE XII. / TALE XIII. / THE FORTUNES OF SHRIKANTHA.; lines 3977-4041 confidence: medium
Shrikantha asks the talisman to bring a daughter of the devas as wife; a deva maiden descends with a hundred maidens, becomes his wife, and a hundred sons are born.
Shrikantha asks for a daughter of the devas as wife, and a deva maiden descends with companions and becomes his wife.
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Sagas from the Far East THE WHITE BIRD AND HIS WIFE. / TALE VIII. / TALE IX. / FIVE TO ONE.; lines 3073-3177 confidence: medium
The aged couple offers their beautiful daughter to the youth; on seeing her, he thinks she is no common child of earth but one of the daughters of the heavenly gods.
The rich youth marries a beautiful woman whom he and later the Khan describe as no common child of earth and as a daughter of the heavenly gods.
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Sagas from the Far East THE WHITE BIRD AND HIS WIFE. / TALE VIII. / TALE IX. / FIVE TO ONE.; lines 3179-3297 confidence: medium
The wife expresses joy at seeing him again and asks how the Garuda-bird obeys him; he asks her to enter the bird and flee beyond the Khan's power if her heart still belongs to him.
The wife says that although she lives in the Khan's palace with splendor and wealth, her heart and joy remain with her husband.
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native american california
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Creation Myths of Primitive America HAKA KAINA / PERSONAGES / TITINDI MAUPA AND PAIOWA / PERSONAGES; lines 16308-16454 confidence: medium
Titindi Maupa hurries while singing of Paiowa, Wakara's youngest daughter in the west; Wakara's children are the stars, and Titindi Maupa hopes to marry the youngest daughter if her father agrees.
Titindi Maupa sings of Paiowa, Wakara's youngest daughter in the west, and is traveling to marry her if her father gives her; Wakara's children are identified with the stars.
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Creation Myths of Primitive America OLELBIS AND MEM LOIMIS / PERSONAGES / NORWAN / NORWAN; lines 3886-3945 confidence: medium
The commentator says the Norwan myth recalls the Helen of Troy tale; identifies Norwan as Hluyuk Tikimit, quivering porcupine; calls her the cause of the first war; connects porcupine with sunlight; and says Norwan dances all day while there is light and bears the food-giving title Bastepomas.
Norwan is described as connected with daylight, food-giving, preferred by a rival, worth fighting for, and the cause of the first war.
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Creation Myths of Primitive America PERSONAGES / NORWAN / NORWAN / PERSONAGES; lines 4089-4254 confidence: medium
Norbis Kiemila, the white oak that rolled southeast, looks northwest, sees Norwan, and says he sees his wife on earth.
Norbis calls Norwan his wife, and Hessiha reports several men coming to see her; Norwan rejects multiple suitors or visitors for stated reasons.
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Creation Myths of Primitive America THE WINTUS / OLELBIS / MEM LOIMIS / NORWAN; lines 20499-20593 confidence: medium
The person later metamorphosed into the red wiu bird is Norbis's rival and the partner with whom Norwan left the dance, causing the first war.
The passage frames Norbis and the partner as rivals over Norwan, with warm sunlight embodied in her, and says this caused the first war.
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vietnamese
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Stories and Legends of Annam INTRODUCTION / XV111 / STORIES AND LEGENDS / OF ANNAM; lines 720-931 confidence: medium
The old woman says tradition preserves names of pretty maids who vanished under water, desired and possessed by the amorous genie, and she warns listeners never to tempt or exasperate him.
Tradition is said to preserve names of pretty maids who vanished under water, desired and possessed by the amorous genie.
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Stories and Legends of Annam INTRODUCTION / XV111 / STORIES AND LEGENDS / OF ANNAM; lines 933-1003 confidence: medium
Seven or eight generations later, maidens no longer laugh when old women or blind men speak of the river-god hidden in the depths of the Song-Lo, and they avoid passing alone by the stream.
The Water-Genie is also described as a river-god hidden in the Song-Lo, and the tale says he desired Kam-Kong.
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Stories and Legends of Annam THE TREASURE OF THE CHAM CHIEFTAIN / THE DEATH OF MY LORD TIGER / IN THE DRAGON KINGDOM / THE BETEL AND THE ARECA-TREE; lines 1890-2104 confidence: low
The maiden plays a single-stringed instrument and sings to the sun: she says sleep is like death, love is true life, she does not know love, and asks the sun to show the one who will love her.
The young woman sings that she does not know love and asks the sun to show her the one who will love her.
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Stories and Legends of Annam XVII I / THE RIVAL GENII / SONG ON THE DEATH OF A YOUNG MAIDEN / HONG-LO THE GIANT; lines 3883-4103 confidence: low
Hong-Lo has never loved a mortal woman, lives chastely, fishes at night and morning, and hunts by day to free the country from fierce beasts.
Hong-Lo has never loved a mortal woman, lives chastely, pursues the tigress, and discovers the hidden maiden Sen, after which he returns every evening.
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comparative
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The Golden Bough: A Study in Comparative Religion (Vol. 1 of 2) CHAPTER I. THE KING OF THE WOOD. / MACAULAY. / CHAPTER II. THE PERILS OF THE SOUL. / HEINE.; lines 3606-3684 confidence: medium
The passage says an English superstition preserves the belief in faded form: one who sees a water-fairy must pine and die; the cited poem describes seeing a maiden on a stream and expecting life to fade because she is divine.
The quoted English superstition describes a mortal seeing a fair maiden or water-fairy on a stream and knowing that his life will fade because she is divine and he is mortal.
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The Golden Bough: A Study in Comparative Religion (Vol. 1 of 2) CHAPTER II. THE PERILS OF THE SOUL. / HEINE. / CHAPTER III. KILLING THE GOD. / FOOTNOTES; lines 11984-12134 confidence: medium
The note says the myths of Isis and Demeter agree because both goddesses, searching for the loved and lost one, sat sad and weary on the edge of a well; Eleusinian initiates were therefore forbidden to sit on a well.
The passage says Isis and Demeter both, in search of the loved and lost one, sit sad and weary on the edge of a well.
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The Golden Bough: A Study in Comparative Religion (Vol. 1 of 2) MACAULAY. / CHAPTER II. THE PERILS OF THE SOUL. / HEINE. / CHAPTER III. KILLING THE GOD.; lines 6597-6671 confidence: medium
Isis mourns and searches for Osiris’ body, finding the coffer at Byblus after an erica tree has grown around it and been made into a palace pillar; she opens the trunk and removes the coffer.
Isis, sister and wife of Osiris, mourns and searches for his body and later for the scattered fragments.
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jewish pseudepigrapha
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The Book of Enoch WITH AN INTRODUCTION BY THE / REV. W. O. E. OESTERLEY, D.D. / INTRODUCTION / CHAPTERS; lines 2157-2313 confidence: medium
The Son of Man is named before the Lord of Spirits and Head of Days before the sun, signs, stars, and world are created; he is chosen and hidden before Him and revealed to the holy and righteous.
The Son of Man is chosen and hidden before creation, named before the Lord of Spirits and Head of Days, supports the righteous, and judges or brings judgment on rulers and hidden things.
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The Book of Jubilees, or, The Little Genesis CHAPTER III. 30-35 29 / CHAPTER IV. 1-9 31 / CHAPTER IV. 10-15 33 / CHAPTER IV. 15, 16 35; lines 6973-7064 confidence: medium
The commentary cites Chronicles of Jerahmeel xxv. 2-4: Shemchazai and ‘Azael receive God’s permission to descend to earth to sanctify the divine name among men, but cannot resist the daughters of men.
The cited Jerahmeel tradition says the descended angels could not resist the attractions of the daughters of men.
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The Book of Jubilees, or, The Little Genesis CHAPTERS XXXVII. 18-XXXVIII. 2 219 / CHAPTER XXXVIII. 3-14 221 / CHAPTERS XXXVIII. 15-XXXIX. 9 223 / CHAPTERS XXXIX. 10-XL. 4 225; lines 22196-22306 confidence: medium
The Lord gives Joseph favor and mercy before Pharaoh; Pharaoh says Joseph is wise and discreet and that the spirit of the Lord is with him.
The Lord gives Joseph favor and mercy, Pharaoh recognizes the divine spirit with him, and Joseph's rule is associated with peace in Egypt.
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oceanic
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Oceanic Mythology MISCELLANEOUS TALES 135 / MISCELLANEOUS TALES 137 / PLATE XV / MISCELLANEOUS TALES 139; lines 7140-7249 confidence: medium
Tagaro sees that the wings are gone, understands that his wife and child have returned to the sky-land, and asks a bird to fly up to seek them because it has wings and he does not.
Tagaro’s wife is in the sky-country, requires him to come up to her, but later cuts the route and remains in the sky with the child.
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Oceanic Mythology PLATE VIII / MISCELLANEOUS TALES 59 / MISCELLANEOUS TALES 61 / MISCELLANEOUS TALES 63; lines 3875-3953 confidence: medium
The commentary notes a sky-maiden who comes down to earth, becomes the wife of a mortal, and later returns to the upper world; it says this lacks certain characteristic swan-maiden elements but contains suggestions of that episode.
The commentary explicitly describes a sky-maiden who comes down to earth, becomes the wife of a mortal, and later returns to the upper world, while noting resemblance to the swan-maiden episode.
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Oceanic Mythology PLATE XIX / TRICKSTER TALES 201 / TRICKSTER TALES 203 / TRICKSTER TALES 205; lines 10113-10134 confidence: high
Heavenly maidens fly down to the pool, lay aside their wings, and bathe; the youth watches from hiding, takes one pair of wings, and makes a slight noise.
Heavenly maidens remove wings to bathe; the youth takes one pair, preventing one maiden from flying away, and she is forced to become his wife.
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romanian
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Roumanian Fairy Tales HENRY HOLT AND COMPANY / COPYRIGHT, 1885, / PREFACE. / CONTENTS.; lines 2143-2278 confidence: medium
The boy asks where the Sweet-milk Lake is, intends to return with his wife, and receives Mogarzea's hearsay information after Mogarzea tries to detain him.
The boy asks for the Sweet-milk Lake, travels three long summer days to a lake in a fairy's kingdom, and seeks to return with a wife.
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Roumanian Fairy Tales HENRY HOLT AND COMPANY / COPYRIGHT, 1885, / PREFACE. / CONTENTS.; lines 2280-2401 confidence: medium
The prince says he is going "to the sun to steal one of its rays" for the sun's sister, and Ileane offers banquet, food, drink, and kisses if his nature matches his appearance and speech.
The prince says he is hurrying to the sun to steal one of its rays, give it to the sun's sister, and take her home as his bride.
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Roumanian Fairy Tales HENRY HOLT AND COMPANY / COPYRIGHT, 1885, / PREFACE. / CONTENTS.; lines 6754-6878 confidence: medium
After Petru leaves and his flute can no longer be heard, Fairy Aurora recovers consciousness, looks around, asks what she saw, and remembers a sweet, commanding human-like creature while the fays remain amazed and silent.
After Petru leaves, the Fairy Aurora awakens, remembers a wondrous human-like figure, sees a wreath on her couch, and becomes sad.
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tibetan buddhist
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The Buddhism of Tibet, or Lamaism PRINCE VISVANTARA. 543 / PRINCE VISVANTARA. 547 / PRINCE VISPANTARA. 549 / PRINCE VISVANTARA. 55; lines 29317-29431 confidence: high
The magic noose is bequeathed to Utpala or Phalaka, who hears a celestial song near a hermitage and captures a beautiful Kinnari; she offers a jewelled crown granting universe-traversing power.
A beautiful Kinnari fairy is captured by a magic noose, later marries Sudhana, escapes to her celestial country, and must be sought again.
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The Buddhism of Tibet, or Lamaism PRINCE VISVANTARA. 543 / PRINCE VISVANTARA. 547 / PRINCE VISPANTARA. 549 / PRINCE VISVANTARA. 55; lines 29317-29431 confidence: high
Prince Sudhana obtains the jewel, marries the Kinnari, favors her entirely, and his jealous other wives try to kill her; she escapes to her celestial country and leaves a charmed ring with the hermit.
Sudhana pursues the Kinnari to her supernatural home, overcomes many obstacles, gains consent, and returns with her to earth.
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The Buddhism of Tibet, or Lamaism PRINCE VISVANTARA. 543 / PRINCE VISVANTARA. 547 / PRINCE VISPANTARA. 549 / PRINCE VISVANTARA. 55; lines 29434-29541 confidence: medium
Sudhina visits the palace of his supernatural wife’s father and must recognize her among her ladies; the passage compares this with tales where a mortal youth obtains and loses a supernatural wife, travels to a demon abode, and completes tasks with his wife’s help, naming Russian, Grimm, Norse, and Scottish Highland parallels.
The passage summarizes a pattern in which a mortal youth obtains and loses a supernatural wife, reaches a demon abode, and accomplishes tasks with his wife’s help; Sudhina’s recognition task is part of this pattern.
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tongan
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Tongan Myths and Tales HINA AND HER HUSBAND120 / HINA AND THE ORIGIN OF SHARKS121 / HINA AND HER BROTHER122 / HINA AND SINILAU123; lines 10408-10483 confidence: medium
Sinilau and Hina sleep apart. The concubines advise Sinilau to avoid Hina because she appears not of this world but like a goddess; Sinilau stays with the concubines, neglects Hina, and she scarcely eats.
Hina is described by the concubines as appearing like a goddess, and later Sinilau is kept outside her enclosure although he is said to be nearly dying of love for her.
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Tongan Myths and Tales HINA AND THE ORIGIN OF SHARKS121 / HINA AND HER BROTHER122 / HINA AND SINILAU123 / SINILAU AT THE ISLE OF SWEET BLOSSOMS124; lines 10485-10566 confidence: medium
Sinilau finds a beautiful naked girl sleeping in the cave, tests whether she is human or divine with a sharpened pandanus seed, faints after she sees him, and hears her identify herself as Tokelauhakotaha and say that her mother was a stone.
Sinilau finds a beautiful girl in a cave, wonders whether she is mortal or immortal, tests her, and then lives with her and has children.
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Tongan Myths and Tales SINILAU AT THE ISLE OF SWEET BLOSSOMS124 / SINILAU AND THE ALBINOS125 / SINILAU AND THE ORIGIN OF WESTERN POLYNESIAN KINGS127 / TALES ABOUT PASIKOLE, THE SAMOAN; lines 10734-11057 confidence: medium
The song introduces Pasikole, asks where he originated, names Akana, says some call him a god and others a man, and describes his ways as unsubdued.
Sisi and Faingaa are goddesses who love Pasikole because of his yellow hair, while Pasikole does not love them and has a wife.
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fjort
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Notes on the Folklore of the Fjort (French Congo) THE WONDERFUL CHILD. / THE WONDEKFUL CHILD. 57 / HOW KENGI LOST HER CHILD. / HOW KENGI LOST HER CHILD. 59; lines 3631-3681 confidence: medium
The daughter of Nzambi is ready for marriage. Nzambi says she should choose for herself; she refuses the tiger, gazelle, pig, and other breath-having created things as suitors.
The daughter of Nzambi is sought by the tiger, gazelle, pig, and all created things with breath, but she refuses them all; Mavungu then seeks to marry her.
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Notes on the Folklore of the Fjort (French Congo) TO LIFE. / HOW JNSASS1 (GAZELLE) GOT MARRIED. 37 / THE VANISHING WIFE. 41 / ANOTHER VANISHING WIFE. 43; lines 3111-3192 confidence: medium
The passage is headed 'Another Vanishing Wife'; a voice warns Mavungu while he pulls at leaves; a leaf becomes a beautiful woman, and other leaves become men and women until the canoe is full.
The beautiful woman originates from a fuba-tree leaf and declares that she has come to be Mavungu's wife and comfort him.
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kimbundu
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Folk-Tales of Angola: Fifty Tales, with Ki-mbundu Text, Literal English Translation, Introduction, and Notes MUTELEMBE NI NGUNGA. / MUTELEMBE AND NGUNGA. / XIII. / XIII.; lines 4844-4969 confidence: medium
The son of Kimanaueze grows to marriageable age; his father tells him to marry; he refuses an earthly woman and says he wants the daughter of Lord Sun and Moon.
The young man refuses earthly women and seeks the daughter of Lord Sun and Moon, who live in heaven.
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Folk-Tales of Angola: Fifty Tales, with Ki-mbundu Text, Literal English Translation, Introduction, and Notes O ANA A MUTUDI. / VIII. / THE CHILDREN OF THE WIDOW. / THE KIANDA AND THE YOUNG WOMAN.; lines 4317-4359 confidence: medium
“The same under the water became Kianda.”
Kianda, associated with the underwater realm, obtains the young woman as wife and takes her under water before living with her.
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native american southeast
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Myths of the Cherokee SECOND VERSION / SECOND VERSION / WAHNENAUHI VERSION / VI--NOTES AND PARALLELS TO MYTHS; lines 24120-24209 confidence: medium
Haywood, citing Charles Hicks, records a tradition that mounds came from earthquake and great noise during adoption into Tuli-cula's family; Tuli-cula was invisible and had taken a wife from one of the towns; the disturbance began when his first son was born.
Tuli-cula is an invisible person who takes a wife from a town; the Balsam legend also describes a maiden becoming the bride of a spirit.
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Myths of the Cherokee SECOND VERSION / SECOND VERSION / WAHNENAUHI VERSION / VI--NOTES AND PARALLELS TO MYTHS; lines 24120-24209 confidence: medium
Grieved by bloodshed, the maiden asks the great chief of the eternal hunting grounds for retribution; she is appointed to call a council at the forks of the Wayeh river and appears to chiefs in a dream, instructing reverent meeting with the spirits.
The maiden, now associated with the spirit and the eternal hunting grounds, appears to chiefs in a dream and instructs them to meet the spirits reverently.
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zoroastrian
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The Zend-Avesta, Part I: The Vendidad FARGARD X. I 35 / I 26 VENDIDAD. / I38 VENDIDAD. / I4O VENDIDAD.; lines 11441-11490 confidence: medium
Faithful-person cleansing: invoke beloved Airyaman to come for the men and women of Zarathustra and the faithful to rejoice, with reward by the law and a boon for holiness from Ahura.
Airyaman is called beloved and invoked to come so that Zarathustra's men and women and the faithful may rejoice.
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The Zend-Avesta, Part I: The Vendidad INTRODUCTION, III. XXXV / XXXVI VENDIDAD. / INTRODUCTION, III. XXXVU / INTRODUCTION, III. XXXI X; lines 3025-3167 confidence: high
Light sought by the storm god is compared to a bride carried off by a fiend; variants include the bride surrendering to a demon, betraying the god-lover, and Pairikas seducing heroes.
The passage presents the light of the storm god as a bride carried off by a fiend, with variants in which she betrays the god-lover.
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arctic inuit
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The Eskimo of Baffin Land and Hudson Bay, Part I WEST COAST OF HUDSON BAY. / V. TRADITIONS. / TALES FROM CUMBERLAND SOUND. / TALES FROM THE WEST COAST OF HUDSON BAY.; lines 10522-10651 confidence: medium
A young woman or girl named Tootocuttuke plays with seal-flipper bones; the Moon descends on a sled, calls her to bring her games, and she goes with him to become his wife.
The Moon descends on a sled, calls Tootocuttuke, and she goes with him to become his wife.
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caucasian
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Caucasian Folk-Tales THE FIRE-HORSE 151 / THE FIRE-HORSE 153 / THE FAITHFUL SON 155 / THE FAITHFUL SON 157; lines 7027-7096 confidence: low
The youth is to address the candlestick about the maiden's silence; the hidden guide will answer, describe the maiden as no child of human parents, and tell a story containing a moot point for him to solve.
In the guide's planned reply, the silent maiden is described as no child of human parents.
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christian apocrypha
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The suppressed Gospels and Epistles of the original New Testament of Jesus the Christ, Complete CHAPTER VIII. / CHAPTER IX. / CHAPTER X. / CHAPTER XI.; lines 10226-10370 confidence: medium
The hired men go to the mountain cave, knock, confront Thecla, declare their intent, seize her by force, and she tells them to see the glory of the Lord.
Thecla is attacked because of her preserved virginity, prays to God for protection, receives heavenly reassurance, and escapes through the opened rock.
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ekoi
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In the Shadow of the Bush FOLK-LORE 353 / S.B. A A / FOLK-LORE 355 / FOLK-LORE 357; lines 18319-18424 confidence: medium
"Eyo (the Sun) dwelt upon earth... towards the great water. His body was redder than fire. He was very tall and thin."
Eyo, identified as the Sun, asks Afion to keep sweethearts with him; she refuses because of his terrifying size and form.
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ethiopian christian
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The Queen of Sheba and Her Only Son Menyelek (Kebra Nagast) THEIR PERSONS / P 225 / P 2 227 / COLOPHON; lines 13145-13185 confidence: medium
The passage refers to named churches or cities as brides of Christ and great cities of God where pure sacrifices and offerings are offered continually.
The named churches or cities are explicitly called brides of Christ.
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fijian
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Tales from Old Fiji CAME TO FIJI 25 / TO BUILD THEIR CANOES 29 / TO BUILD THEIR CANOES 31 / THE STORY OF THE SUN-CHILD; lines 3138-3208 confidence: medium
An unnamed great chief in Tonga has an unnamed daughter, later called the Mother of the Sun-child; he hides her from men because he finds no man worthy to be her husband.
The chief's daughter is hidden from men behind a fenced bathing place; the Sun sees and loves her, and in time she bears the Sun-child.
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finnic
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Finno-Ugric, Siberian Mythology THE STARS / VENUS / PLATE XLVIII / THE STARS 433; lines 18958-19022 confidence: medium
Among the Yakuts, Venus is a beautiful maiden loved by Urgel, the Pleiades; when the two meet in the sky it foretells storm and violent weather.
Yakut Venus is a beautiful maiden loved by Urgel, and their meeting in the sky foretells storm and violent weather.
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hopi
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The Traditions of the Hopi STARS.' / HIS WIFE. 1 / FOR THEIR LIFE. 1 / NIGHT. 1; lines 7517-7607 confidence: medium
Pavayoyfcashi, a rain deity from the far south, dresses and paints himself like Flute players, Pow£muy dancers, and certain Katcinas, carries bow and arrows in a panther-skin quiver, finds the maiden at her father’s field, asks for parental consent to marry her, and receives a favorable response.
Pavayoyfcashi is identified as a rain deity and asks the maiden to seek her parents’ consent for marriage; she is favorably impressed and her parents do not object.
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kikuyu
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With a Prehistoric People: The Akikuyu of British East Africa CHILDREN 135 / O CI- / T V / OLD WOMEN 137; lines 10650-10831 confidence: low
Women do not take part in sacrifices to God, though one woman is said to have described herself as the wife of God and to have established a sort of cult.
One woman is reported to have described herself as the wife of God and to have established a sort of cult.
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malagasy
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Madagascar Before the Conquest: The Island, the Country, and the People CHAPTER XL / SONGS, POETRY, AND MYTHICAL CREATURES. / CHAPTER XII. / MALAGASY FOLK-TALES AND FABLES.; lines 10312-10426 confidence: medium
A very rich couple has three daughters; the youngest is named Ifaravavy, meaning “last female,” and is described as the prettiest.
Ifaravavy dreams that the son of the sun comes from heaven to take a wife and chooses her instead of her two sisters.
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melanesian
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The History of Melanesian Society, Volume 1 D I / E I / CHAPTER IV / BANKS ISLANDS; lines 5439-5487 confidence: medium
The motar runs to the pit, sees Wetmatliwo sinking down, seizes his head, asks where he comes from, and he says he abides there.
The motar encounters Wetmatliwo at an open pit, immediately identifies him as her husband, and he is later revealed with glory as a great light and called a beautiful youth.
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micronesian
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The Caroline Islands: Travel in the Sea of the Little Lands VISIT TO ONOTH AND GOROR / CHAPTER XVIII / TO TOMIL, LAI, ELIK, BY BOAT TO NORTH YAP / CHAPTER XIX; lines 10977-11044 confidence: medium
The passage praises Yap and Alok men as fighters and dancers, describes their adornment, and says one fairy takes a liking to Maralok and elopes with him.
A fairy from the sky-visiting group loves the mortal Maralok, elopes with him, and is later called his wife and the daughter of the skies.
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nahua maya inca
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The Myths of Mexico & Peru CHAPTER IV: THE MAYA RACE AND MYTHOLOGY / CHAPTER V: MYTHS OF THE MAYA / CHAPTER VI: THE CIVILISATION OF OLD PERU / CHAPTER VII: THE MYTHOLOGY OF PERU; lines 10227-10315 confidence: medium
At San Lorenzo, Paricaca sees Choque Suso crying over maize dying for lack of water; he promises water if she returns his love, and she requires water for all farms.
Paricaca promises Choque Suso plenty of water if she returns his love; she requires water for all farms, and the completed channel unites the lovers.
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native american great lakes
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Fox Texts DIPHTHONGS. / AND FOR THAT REASON DROWNS HER DAUGHTER.1 / THUS OBTAIN CRAWFISHES TO EAT.1 / CEASED FROM HER EVIL CONDUCT.1; lines 3704-3866 confidence: high
The tale titled 'The Youth that forsook a Manitou Woman' begins: a youth courts maidens, wins the woman he loves, finds she is aged, rejects her, and marries her younger sister, who is white-eyed.
The youth forsakes a woman later identified as a manitou woman; when he tries to return, she kills him.
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shan
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Shans at Home, With Two Chapters on Shan History and Literature THE HARE AND THE SNAIL / THE MONKEY AND THE CROCODILE / THE KING OF THE DOVES / THE FAIRY AND THE HUNTER; lines 9695-9805 confidence: low
“seven fairies came down to bathe in the lake. Their home was in the silver mountain in heaven.”
The fairy from heaven is given to the king’s son, and the passage describes the husband’s love as greater than the sun.
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zulu
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Nursery Tales, Traditions, and Histories of the Zulus, in Their Own Words THE GIRL AND THE CANNIBALS. / APPENDIX. / THE HEAVEN-COUNTRY. / THE HEAVEN-COUNTRY.; lines 8562-8630 confidence: medium
The Celebes legend of Utahagi is compared with Tawhaki: a man marries a daughter of heaven, is forsaken by her, and ascends to heaven by rattans in search of her.
Utahagi, compared with Tawhaki, had married a daughter of heaven, was forsaken by her, and ascended to heaven in search of her.
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