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Main menu. move to sidebar ... Ideal womanhood is a subjective evaluation of ... described as the ideal woman of ancient Greek society, "the embodiment of ...
Macaria (Ancient Greek: Μακαρία, romanized: Makaría, lit. 'blessed one, blessedness') is an obscure figure in ancient Greek mythology and religion, reportedly the daughter of Hades, god and king of the Underworld. Macaria is only passingly mentioned in a medieval source of the tenth century, which offers little to no documentation on ...
Euripides (c. 480 – c. 406 BC) is one of the authors of classical Greece who took a particular interest in the condition of women within the Greek world. In a predominantly patriarchal society, he undertook, through his works, to explore and sometimes challenge the injustices faced by women and certain social or moral norms concerning them.
If a man wanted a divorce, however, all he had to do was throw his spouse out of his house. A woman's father also had the right to end the marriage. In the instance of a divorce, the dowry was returned to the woman's guardian (who was usually her father) and she had the right to retain half of the goods she had produced while in the marriage ...
After a young woman loses her job she takes off for a Hellenic holiday that sends her life on a new course.
Marriage was considered the most important part of a free Athenian woman's life. This box, known as a pyxis, would have been used to hold a woman's jewellery or cosmetics and is decorated with a wedding-procession scene. The primary role of free women in classical Athens was to marry and bear children. [46]
Naumachius (Ancient Greek: Ναυμάχιος) was a Greek didactic poet. Of his poems, seventy-three hexameters (in three fragments) are preserved by Stobaeus in his Florilegium (4.22b.32, 4.23.7, 4.32c.76).). Although the poem begins with the notion that the ideal life of an intelligent woman is one in which she remains unmarried, living in ...
Although Goethe does not introduce the eternal feminine until the last two lines of the play, he prepared for its appearance at the outset. "Equally pertinent in this regard", writes J. M. van der Laan, "are Gretchen and Helen, who alternate with each other from start to finish and ultimately combine with others to constitute the Eternal-Feminine" [1] At the beginning of Part I, Act IV, Faust ...