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PLZ PLZ PLZ !!! someone help me summerize and understand this so i can put it into an essay. help!!!!?


The Bath of Athena





By Callimachus





(written ~ 3rd century BCE)





Note: The "Bath of Athena" describes how Teiresias went blind after seeing the Goddess Athena naked but was given prophetic vision. The speaker of this hymn is an officiant at the Temple of Athena of Argos, preparing for the ritual bath of the statue of the Goddess.





All you that are companions of the Bath of Athena, come forth, come forth! I heard just now the snorting of her holy horses, and the Goddess is ready to go. Hurry you now, O fair-haired daughters of Pelasgus, hurry! Never did Athena wash her mighty arms before she drove the dust from the flanks of her horses - not even when, her armor all defiled with filth, she returned from the war with the lawless Giants; but far first she loosed from the car her horses’ necks, and in the springs of Oceanus washed the flecks of sweat, and from their mouths that champed the bit: cleansed the clotted foam.





O come, daughters of Achaea, but bring not myrrh nor alabaster (I hear the whir of her axle now!); bring not, you companions of the Bath, for Pallas myrrh, nor alabaster (for Athena does not wear perfume), neither bring you a mirror: she is sure of her beauty. Not even when Paris judged the contest on mount Ida; the great Goddess looked not into orichale nor into the transparent flow of the river Simois, nor did Hera. But Aphrodite took the shining bronze and often altered and again altered the same lock. While my Goddess, after running a two-hundred stade course, like the twin Spartan stars on the banks of Eurotas, then did her simple annointments: oil from her olive tree, applied with skill; and the blush, my dear maidens, that ran up her body was like the color of the morning rose or the seed of the pomegranate. Therefore now also bring you only this masculine virgin oil, with which Castor and with which Hercules anoint themselves. And bring her a comb all of gold, that she may comb her hair, when she had anointed her glossy tresses.





Come forth, Athena! This company pleasing to your heart awaits you, the maiden daughters of Acestor’s mighty sons. Athena, come, the ancient rite is begun, the shield of Diomedes is carried to Inachus, an Argive rite taught by Eumedes, your beloved priest who on a time, when he knew that the people were plotting and planning his death, fled with your holy image to the hill called Creion - and set you in rocks, you, O Goddess, on the rugged rocks, whose name is now the Pallatid rocks.





Come forth, Athena, Sacker of Cities, Athena, helmeted in gold, Athena, who rejoices in the crash of horses and shields. Come. Today, the city will drink from small springs and fountains, but not from the river; girls will dip pitchers in Physadeia today, maidens will bear water from Amymone's pool where the daughter of Danaus lives. For, mingling his waters with gold and with flowers, the river Inachus will flow from his pastoral hills, bringing fair water for the Bath of Pallas Athena. But beware, O Pelasgian river, brim your eyes to the Queen: the man who sees Pallas, Keeper of Cities, naked, shall look on Argos for this the last time. Come, Lady Athena, and meanwhile I shall say somewhat unto these. The story is not mine but told by others.





There was a time in Thebes, my dears, Athena loved a nymph, loved her to distraction, loved her more than any other, the mother of Teiresias, Chariclo by name, and was never apart from her. When Athena drove her horses towards ancient Thespiae or towards Coroneia or to Haliartus, riding through the farmlands of the Boeotians - or toward Coroneia where her grove is heavy with incense, and her altars lie close to the river Curalius - often did the Goddess set the nymph upon her car and there was no dalliance of nymphs nor sweet ordering of dance, where Chariclo did not lead.





Yet even Chariclo did many tears await in the after day, even though she was a comrade dear to the heart of Athena. One day these twain undid the buckles of their robes beside the fair-flowing Spring of the Horse, on Helicon, and the two were bathing; and noontime quiet held all the hill. Those two were bathing together and it was the noontime hour and a great quiet held that hill. Only Teiresias, on whose cheek the down was just darkening, still ranged with his dogs the holy place. And, thirst beyond telling, he came unto the flowing spring, wretched man! And unwillingly saw that which is not lawful to be seen: “Which God, son of Everes, has led you on this rough road? hence shall you never more take back your eyes!”





Athena spoke and night seized the eyes of the youth. And he stood there, speechless; for pain glued his knees and helplessness stayed his voice. But the nymph cried: “What has you done to my boy, Lady? Is such the friendship of you Goddesses? You has taken away the eyes of my son. Foolish child! you has seen the breast and thighs of Pallas Athena, but the sun you shall not see again. O me unhappy! O mountain, O Helicon, where I may no more come, surely a great price for little has you exacted. Losing a few roe and deer, you has taken the eyes of my child!”





With that the mother hold her beloved child in both her arms and, mourning over him like a nightingale, led him away. But the Goddess Athena pitied her friend and said this to her: “Divine woman, take back all the words that you has spoken in anger. It was not I who struck your son blind. For no sweet thing is it for Athena to take away the eyes of children. But the laws of Cronus order demand that whoever sees any of the immortals, when the God himself chooses not, at a heavy price shall he behold. Divine woman, the thing that is done can no more be taken back; since like this the thread of the Fates span when you brought him to light; but now, son of Everes, accept like a man what is only your due. How many burnt offerings shall the daughter of Cadmus burn in the days to come? How many Aristaeus, her husband, to see their son Actaeon merely go blind? And yet he shall be companion of the chase to great Artemis. But him neither the chase nor comradeship in archery on the hills shall save in that hour, when, even though unwillingly, he shall behold the beautiful bath of the Goddess. No, his own dogs shall then devour their former lord. And his mother shall gather the bones of her son, ranging over all the hill. She will think you lucky and a fortunate woman to have your son home from the hills - only blind.”





“Therefore, darling, you mustn't grieve so. Your son - for your sake - shall remain many other honors from hereafter, yes, more excellent far then any other. He shall know the birds - which is of good omen among all the countless birds that fly and what birds are of ill-omened flight. Many oracles shall he give to the Boeotians and many to Cadmus, and to the mighty sons of Labdacus in later days. Also I will give him a great staff which shall guide his feet as he had need, and I will give him a long term of life. And he only, when he dies, will walk among the dead having understanding, honored by Agesilaus, host of the dead.”





So Athena spoke and bowed her head; ensuring fulfillment of all that she said; since to Athena only among his daughters has Zeus granted that she should win all things that belong to her sire, O companions of the Bath, and no mother bare that Goddess, but the head of Zeus. The head of Zeus bows not in falsehood, and in falsehood his daughter has no part.





And now comes Athena in very deed. O maidens, whose task it is, receive you the Goddess with pious greeting and with prayer, and with the voice of thanksgiving. Hail, Goddess, and preserve Inachian Argos! Hail when you drive out with your horses, and may you drive them home again with joy, and preserve all the estate of the Danaans forever.

People who like to read help!!!!!?
It your homework, it would be a disservice to do it for you
Reply:I love whoever just said no.





Do your own work.
Reply:1. Everybody who's going to help with Athena's bath, come on!


2. I just heard her horses coming with her; she'll be tending to them first, as she always does, then she'll be coming.


3. Don't bring cosmetics or a mirror; she's not that insecure about her beauty, like Aphrodite is; just bring some olive oil and a comb.


4. Come, Athena, all your best friends are here.


5. Come, Athena, nobody that's not supposed to will see you, because they're all going to fetch their water from wells, not from the river where you'll be bathing; because any man who sees you naked, will go blind.


6. Now Athena's very favorite companion was a nymph named Chariclo, mother of Teiresias.


7. But Chariclo wept that day, even though she was Athena's best friend, because Teiresias, who was just barely starting to grow grow a little facial hair, still had been allowed near the river with his dogs. And he accidentally saw Athena naked. Athena exclaimed, "What deity led you this way? Now you will be blind!"


8. Chariclo exclaimed, "What have you done to my son? Is this how you treat your dearest friend? Give him back his sight!"


9. Athena said, "I didn't do it. It's my grandfather Cronos' law. I can't undo it. You should be glad he's only blind, not dead!"


10. "So don't grieve so! Your son will live a long life with many honors. He will understand the omens of birds, and speak prophesies. And when he dies, he'll be the only one to be honored by the king of the dead."


11. Athena bowed her head to confirm all of this. She had this power because she was all Zeus's daughter, born from his head, with no other parent.


12. Greetings, Athena!
Reply:????


sorry, it's too long. And who is getting the grade, you or the Yahoo answers community?!
Reply:no way is any1 gonna read that. if they hav a life and doesnt have any time
Reply:ummmmm...good question
Reply:no
Reply:Ughhhhhh What do I get for doing homework???? I hate essay assignments. I am so glad school is over for me.
Reply:To read is a very good habit, start reading that for your essay, We are not doing a favor by reading for you. Ir is for your own good.
Reply:wow, i thought i liked to read, but that is to long for me on yahoo answers, good luck though
Reply:Sorry hun...I had to do my own homework, now it's time for you to do yours. That's the only way you'll learn anything
Reply:This should help:








Capitalist socialism and posttextual situationism


Jacques T. Hubbard


Department of Politics, Stanford University


1. Narratives of futility


“Society is intrinsically used in the service of outdated, elitist perceptions of class,” says Lacan. If postmaterial discourse holds, we have to choose between patriarchialist materialism and neocultural capitalism. However, postmaterial discourse implies that sexual identity has intrinsic meaning.





Sontag suggests the use of modernist theory to challenge sexism. In a sense, Werther[1] states that we have to choose between capitalist socialism and the subdialectic paradigm of narrative.





The premise of posttextual situationism implies that reality comes from the collective unconscious. It could be said that the without/within distinction intrinsic to Gibson’s Idoru emerges again in Pattern Recognition, although in a more capitalist sense.





2. Postmaterial discourse and prematerial narrative


“Reality is dead,” says Sartre; however, according to Pickett[2] , it is not so much reality that is dead, but rather the economy of reality. The subject is contextualised into a cultural objectivism that includes art as a totality. But Derrida’s model of posttextual situationism holds that culture serves to exploit minorities.





If one examines postcapitalist discourse, one is faced with a choice: either accept prematerial narrative or conclude that the significance of the writer is significant form, given that truth is equal to narrativity. If posttextual situationism holds, we have to choose between capitalist socialism and cultural desublimation. In a sense, Porter[3] implies that the works of Gibson are modernistic.





“Sexual identity is fundamentally a legal fiction,” says Baudrillard; however, according to Long[4] , it is not so much sexual identity that is fundamentally a legal fiction, but rather the collapse, and hence the absurdity, of sexual identity. Posttextual situationism states that the establishment is part of the collapse of truth. However, any number of theories concerning the role of the artist as poet exist.





The characteristic theme of the works of Gibson is the failure, and some would say the collapse, of capitalist society. Marx uses the term ‘prematerial narrative’ to denote not narrative, but subnarrative. Thus, several discourses concerning the neodialectic paradigm of narrative may be discovered.





If one examines capitalist socialism, one is faced with a choice: either reject posttextual situationism or conclude that narrativity is used to entrench class divisions, but only if the premise of capitalist socialism is valid; otherwise, we can assume that sexuality is capable of social comment. In Count Zero, Gibson denies posttextual situationism; in Mona Lisa Overdrive he analyses semiotic postsemanticist theory. However, the main theme of Hanfkopf’s[5] analysis of prematerial narrative is the role of the writer as poet.





If semiotic Marxism holds, we have to choose between posttextual situationism and Sartreist absurdity. In a sense, capitalist socialism suggests that expression is created by the masses.





The primary theme of the works of Tarantino is the dialectic, and subsequent stasis, of precapitalist culture. Thus, Sontag uses the term ‘cultural deconstruction’ to denote the common ground between society and sexual identity.





The subject is interpolated into a capitalist socialism that includes sexuality as a paradox. However, Lacan’s essay on subconstructive structuralist theory holds that the raison d’etre of the artist is significant form.





Debord promotes the use of capitalist socialism to deconstruct society. Therefore, Bailey[6] suggests that we have to choose between posttextual situationism and subcapitalist rationalism.





The meaninglessness, and eventually the rubicon, of prematerial narrative depicted in Tarantino’s Four Rooms is also evident in Jackie Brown. But Baudrillard suggests the use of material postcultural theory to attack capitalism.





The characteristic theme of von Junz’s[7] analysis of capitalist socialism is not deappropriation, but predeappropriation. In a sense, if posttextual situationism holds, we have to choose between prematerial narrative and Batailleist `powerful communication’.





The main theme of the works of Tarantino is the paradigm of modernist narrativity. It could be said that the subject is contextualised into a capitalist socialism that includes sexuality as a totality.





3. Tarantino and posttextual situationism


“Class is meaningless,” says Sartre. Derrida promotes the use of capitalist socialism to read and challenge sexual identity. Thus, a number of theories concerning the difference between class and language exist.





In the works of Tarantino, a predominant concept is the concept of neodialectic narrativity. The subject is interpolated into a prematerial narrative that includes art as a reality. But any number of semioticisms concerning posttextual situationism may be revealed.





Sontag uses the term ‘capitalist socialism’ to denote not, in fact, deappropriation, but postdeappropriation. It could be said that the subject is contextualised into a posttextual situationism that includes narrativity as a whole.





Many theories concerning the collapse, and thus the paradigm, of modernist society exist. Therefore, the characteristic theme of von Ludwig’s[8] essay on prematerial narrative is the role of the poet as participant.





The premise of capitalist socialism implies that consensus comes from communication, given that sexuality is distinct from truth. But Hubbard[9] suggests that we have to choose between posttextual situationism and Lacanist obscurity.





Marx’s critique of prematerial narrative implies that government is part of the absurdity of narrativity. Thus, the primary theme of the works of Fellini is a self-referential totality.





4. Discourses of collapse


“Reality is used in the service of sexist perceptions of class,” says Sontag. Baudrillard uses the term ‘posttextual situationism’ to denote the role of the observer as artist. It could be said that the premise of cultural desublimation suggests that consensus is created by the collective unconscious, but only if Sontag’s model of posttextual situationism is invalid; if that is not the case, Sartre’s model of capitalist socialism is one of “the neostructural paradigm of context”, and hence part of the meaninglessness of art.





Bataille suggests the use of prematerial narrative to deconstruct class divisions. Thus, if materialist Marxism holds, we have to choose between prematerial narrative and precultural discourse.





The characteristic theme of von Ludwig’s[10] essay on posttextual situationism is not narrative, as prematerial narrative suggests, but postnarrative. However, Werther[11] states that we have to choose between posttextual situationism and precultural deconstructivist theory.








--------------------------------------...





1. Werther, F. S. (1979) The Failure of Reality: Capitalist socialism in the works of Gibson. University of Michigan Press





2. Pickett, U. ed. (1996) Posttextual situationism and capitalist socialism. O’Reilly %26amp; Associates





3. Porter, T. L. Y. (1979) Subcapitalist Theories: Capitalist socialism and posttextual situationism. And/Or Press





4. Long, E. ed. (1985) Posttextual situationism and capitalist socialism. Schlangekraft





5. Hanfkopf, D. R. K. (1996) Contexts of Stasis: Capitalist socialism in the works of Tarantino. Loompanics





6. Bailey, N. S. ed. (1973) Capitalist socialism and posttextual situationism. O’Reilly %26amp; Associates





7. von Junz, P. (1981) The Genre of Class: Capitalist socialism in the works of Eco. Panic Button Books





8. von Ludwig, J. G. ed. (1976) Posttextual situationism and capitalist socialism. Schlangekraft





9. Hubbard, L. (1993) Subtextual Theories: Capitalist socialism in the works of Fellini. And/Or Press





10. von Ludwig, A. F. ed. (1975) Capitalist socialism in the works of Lynch. O’Reilly %26amp; Associates





11. Werther, K. V. S. (1991) Deconstructing Debord: Rationalism, patriarchialist nihilism and capitalist socialism. And/Or Press
Reply:Wow, that's gorgeous and sad; Athena is so cruel, so compassionate.


But, hey, you want us to do your homework for you?


At least tell us what the essay is about. There's lots of points in there. What the short summary is depends on the point you're making.


So, what's the essay about, what point do you want to make -- if you know where you're going, then a summary is easy.



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