zodiac body artemis human nature

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In this time of the year many of us run after the perfect gifts for our loved ones. A gift I chose for myself this week was a small silver box with an engraved stag. I saw it at a Christmas open-air market and just had to have it. The reason is obvious enough for Greek myth lovers: the lunar (silver) goddess Artemis, who had deer as her emblem. As a child, Artemis was asked by her father Zeus what she really desired:

 “The infant Artemis sat on Zeus’s lap. She knew what she wanted for the future and told her father all her wishes one by one: to remain forever a virgin, to have many names, to rival her brother, to possess a bow and arrow, …, to hunt wild beasts, to have sixty Oceanides as an escort, … to hold sway over all mountains; she could get by without the cities.” Roberto Calasso

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Her wish was granted. Artemis is this part of the psyche which is primal, wild and unbound; it is the wild hunter in us, not the domesticated farmer. She is alien to settling down, for her thrill is the endless chase. The emotion I associate with this goddess is a feeling of joy and total liberation. She brings the joy of liberation and expresses it through her delightful singing and dancing, as we read in the hymn by Homer:

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“…when she is satisfied and has cheered her heart, this huntress who delights in arrows slackens her supple bow and goes to the great house of her dear brother Phoebus Apollo, to the rich land of Delphi, there to order the lovely dance of the Muses and Graces. There she hangs up her curved bow and her arrows, and heads and leads the dances, gracefully arrayed, while all they utter their heavenly voice…”

Her first instinct is to defend. Her fighting skills also resemble those of a dancer; she never attacks head-on, hacking and stabbing, but rather accomplishes a victory gracefully, as was the case in the myth of the Aloadai Giants, who in their youthful foolishness decided to raid the Olympus. The first goddesses they encountered were Hera and Artemis:

“The first twin, Ephialtes, tried to force his unwanted attentions on Hera, and the second Otos did likewise to Artemis. Artemis escaped from Otos by shape-shifting into a deer, distracting the young giants. Ephialtes and Otos decided they wanted to kill the divine deer. Artemis cunningly ran between them, and as they tried to spear her she moved too swiftly for the cumbersome giants to hit her. As a result they missed and killed each other instead, just as Artemis had planned.” Sorita D’Este

Prompthunt: Artemis Goddess Of The Moon And The Hunt

I have been thinking a lot about Artemis recently while researching the symbolism of the arrow and archery for my monthly installment of the Images of the Zodiac. No other weapon is so graceful, so striking as the bow, and Artemis is a master archer. Furthermore, I saw two young graceful stags crossing my path in the woods quite recently, which filled me with enormous joy. Another interesting omen was a piece of information I found out just a few days ago: apparently, the name Berne, the capital of my adopted country, Switzerland, means “she-bear” and a black bear is also the emblem of the city. I turns out that ancient Helvetian tribes used to worship Artemis as She-Bear in this area.

That connects Artemis to the constellation Ursa Major, which in esoteric thought is believed to rule the stars and protect the World Axis (axis mundi). The axis mundi resembles an arrow, so it is fitting that Artemis should guard it. Also, the world axis, where the four compass directions meet, is equaled with the world tree, and Artemis’s home was the woods.

 “The months and seasons are determined by the revolution of Ursa Major. The tail of the constellation pointing to the east at nightfall announces the arrival of spring, pointing to the south the arrival of summer, pointing to the west the arrival of autumn, and pointing to the north the arrival of winter. … “ Barbara G. Walker

The Signs Of The Zodiac In The Human Body

The bear, according to Ted Andrews, is “the true last symbol of the primal, natural world.” It is naturally associated with trees, thanks to its climbing skills and also because of its love of honey. The sweetness of life can only be tasted by returning to primal nature.

Zodiac Man - Zodiac Body Artemis Human Nature

As was the case with many other goddesses, also the genealogy of Artemis proves to be very ancient. Robert Graves returns to the Akan (African) roots of her myth. It is not unexpected that she is a descendant of a very ancient Moon goddess:

“In the most primitive, the Moon is worshipped as the supreme Triple-goddess Ngame, … . Ngame is said to have brought forth the heavenly bodies by her own efforts, and then to have vitalized men and animals by shooting magical arrows from her new-moon bow into their inert bodies. She also, it is said, takes life in her killer aspect; as did her counterpart, the Moon-goddess Artemis.” Walt Disney, Fantasia

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Her arrows are in equal measure life-giving and life-taking. She hunts wild beasts but also protects them, and can be thus regarded as a regulatory force in nature. She remains unmarried and childless but protects women in childbirth and helped deliver her own brother, Apollo. She is pure, primal and fierce. She also protects the essential, godlike feminine aspect against being raped and contaminated. In the most famous myth, Actaeon sees her naked while she is bathing in a pond, and pays with his life, for she transforms him into a stag and he is ravished by his own hunting gods. This ritual was very common in many cultures, as Graves asserts:

“…the ritual bath in which Actaeon surprised her, like the horned hinds of her chariot and the quails of Ortygia, seems more appropriate to the Nymph than the Maiden. Actaeon was, it seems, a sacred king of the pre-Hellenic stag cult, torn to pieces at the end of his reign of fifty months, namely half a Great Year; his co-king, or tanist, reigning for the remainder.”

Meaningful Signs: A Hero's Journey Through The Zodiac — Sophiequi - Zodiac Body Artemis Human Nature

To me, she is the untamed, uncivilized part of every woman and man; the part immersed in nature, living and breathing in concert with its universal rhythm. Her chariot was pulled by deer and she was called the Lady of the Beasts. Ted Andrews points out that the Anglo-Saxon word “deer” was first used as a general word denoting all animals and wild beasts. He traces it back to the Sanskrit “mrga, ” meaning “wild animal.” He sees the symbolism of the deer as the lure of adventure and the call of the wild:

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“The hunt of the deer is what transfers our civilization to the wilderness. There are many stories and myths of deer luring hunters or even kings deep into the wood until they are lost and begin to encounter new adventures.”

The antlers may stand for the attunement to our intuition and to acute perception in general. The senses of the deer are incredibly acute, as Andrews points out: “especially effective at detecting contrasts and edges in dim light.”

Gentle as a deer and ferocious as a bear, Artemis protects all that grows and develops, especially children, young animals and mothers. She is powerful but not invincible – Hera particularly hates her because she is the fruit of Zeus’s tryst with Leto. Hera’s mythical supremacy over Artemis may just be the patriarchal finger wagging at the wild and independent feminine power. But no one can destroy Artemis, much as Hera would like to get rid of yet another proof of her husband’s infidelity. As opposed to Hera, Artemis cherishes her aloneness and privacy. Aphrodite or Eros had no supremacy over her: she loved her solitude. She embodies that aspect of a woman that is non-relational and not looking for a partner or a mate. She is completely self-sufficient. When Artemis decides to spend time with a man she chooses her equals: hunters, like Orion, or other children of wild nature and ecstasy, such as Dionysus, who she fought side to side with against Hera in the Indian wars, or Pan, who presented her with a pack of wild dogs for hunting.

How To Heal Your Body Using Astrology - Zodiac Body Artemis Human Nature

Artemis 1 Mission: Nasa Gives 'go Ahead' To Re Attempt Launch Today

At Ephesus, where her famous temple and a place of cult were located, she was worshipped as a luscious fertility goddess with multiple breasts symbolizing endless nourishment. The temple of Ephesian Artemis in Ephesus was one the seven wonders of the world; it was surrounded by two streams. The temple was burnt to the ground by Herostratus, who thus wanted to immortalize his name. The burning of the temple coincided with the birth of Alexander the Great, the conqueror of Asia.

“Eastern soothsayers who visited the ruins of the temple prophesied that the day that the temple burned down was an omen predicting that a great force which would destroy Asia came into the world.” Robert Graves

In this season of darkness, let lunar Artemis guide us with her torch to the fertile, hidden recesses

Meaningful Signs: A Hero's Journey Through The Zodiac — Sophiequi

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Minsky’s Pizza, eggtc., and Osteria IL Centro, are excited for the debut of our new “Eat. Play. (Love) South Plaza” mural at our South Plaza location at 51st and Main in Kansas City, Missouri. Designed and painted by local artist Ruthie Ozonoff and located on the north side of Osteria IL Centro, the mural is an homage to the South Plaza neighborhood where Minsky’s Pizza was founded and has called home for 44+ years!

Ruthie is also the artist behind many of Kansas City’s most iconic and “Instagrammable” murals, including the “Kansas City, I’m So In Love” mural at 2010 McGee, and the “Where Kansas City Plays” mural in the West Bottoms. Both murals regularly make numerous lists of “most Instagrammable spots in KC, ” and we are thrilled to be able to add a piece of Ruthie’s artistry to South Plaza.

According to Minsky’s, eggtc. and Osteria IL Centro founder Gregg Johnson, “We wanted to highlight the South Plaza neighborhood where Minsky’s Pizza began – and to this day consider our home base. It’s a place for great food, for shopping, for browsing the Plaza library or just getting out for a walk. There are schools, churches and hundreds of families living in South Plaza – it’s really an incredible hidden jewel nestled in the hills above the Country Plaza.”

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Gregg continued, “The blue in the mural just felt right – the color is kind of a nod to the Royals, and also the color of the skies above South Plaza on a beautiful day. And the red heart – I guess we see the South Plaza neighborhood as being part of the heart of the great city we all call home. We look forward to enjoying the mural for years to come!”

Ruthie is from Kansas City and grew up in the Brookside area. She attended the University of Kansas where she studied illustration and animation and currently resides in Lawrence, Kansas. You can find Ruthie’s work on her Facebook and Etsy pages, or check it out on Instagram: @designedbyruthie.

So, the next time you visit Minsky’s, eggtc., or Osteria IL Centro, be sure to walk around the corner to the north of the block, check out the new South Plaza mural, snap a group photo or selfie and tag us on social!  Last – but certainly not least! – we offer a heartfelt “Thank You!” to Ruthie for bringing this amazing mural to life and for being a huge part of Minsky’s tribute to South Plaza!

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Gregg continued, “The blue in the mural just felt right – the color is kind of a nod to the Royals, and also the color of the skies above South Plaza on a beautiful day. And the red heart – I guess we see the South Plaza neighborhood as being part of the heart of the great city we all call home. We look forward to enjoying the mural for years to come!”

Ruthie is from Kansas City and grew up in the Brookside area. She attended the University of Kansas where she studied illustration and animation and currently resides in Lawrence, Kansas. You can find Ruthie’s work on her Facebook and Etsy pages, or check it out on Instagram: @designedbyruthie.

So, the next time you visit Minsky’s, eggtc., or Osteria IL Centro, be sure to walk around the corner to the north of the block, check out the new South Plaza mural, snap a group photo or selfie and tag us on social!  Last – but certainly not least! – we offer a heartfelt “Thank You!” to Ruthie for bringing this amazing mural to life and for being a huge part of Minsky’s tribute to South Plaza!

En FranÇais] Facebook Business Manager

Gregg continued, “The blue in the mural just felt right – the color is kind of a nod to the Royals, and also the color of the skies above South Plaza on a beautiful day. And the red heart – I guess we see the South Plaza neighborhood as being part of the heart of the great city we all call home. We look forward to enjoying the mural for years to come!”

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So, the next time you visit Minsky’s, eggtc., or Osteria IL Centro, be sure to walk around the corner to the north of the block, check out the new South Plaza mural, snap a group photo or selfie and tag us on social!  Last – but certainly not least! – we offer a heartfelt “Thank You!” to Ruthie for bringing this amazing mural to life and for being a huge part of Minsky’s tribute to South Plaza!

En FranÇais] Facebook Business Manager

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(The following paper was presented at the Louisville Conference on Literature and Culture Since 1900, held Feb. 23-26, 2023, at the University of Louisville. It was part of the panel “Some Forms of Postmodernism in American Fiction, ” chaired by Hunter Augeri, Duke University. Other papers were “The Violence of Microscopy: Nicholson Baker’s

William H. Gass – master stylist and acclaimed author of novels, essays, criticism, and translation – passed away December 6, 2017, at the age of 93. In the last few months of his long life infirmity prevented him from writing, but not before he was able to bring his final work to completion, simply titled “Baroque Prose.” No doubt it wasn’t as fully rendered as he would have liked, nor as finely tuned certainly, yet it was a fitting end to a life devoted to language: absorbing it, analyzing it, diagraming it, and shaping it into some of the most artful forms ever spoken or read. William Gaddis considered his friend Bill Gass “our foremost writer, a magician with language” (507); John Barth admired Bill Gass the person, but “most of all . . . the writing: in the fiction, those inhospitable landscapes and typically pathetic-when-not-monstrous characters, marvelously rendered into language; in the essays, the play of mind and wide-ranging erudition lightly deployed. And in both the prose, the prose . . .” (72). Perhaps Watson L. Holloway, author of

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(1990), put it most succinctly when he refers to “Gass’s finely tuned word machine, ” noting it is “the language that must be at the root of any appreciation of his work” (x).

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Of language too many times to count. Just how much attention he gave the aural quality of language in his own work may best be seen in his comments about his friend William Gaddis’s writing. In Gass’s introduction to the Penguin Classics edition of

“[W]e must always listen to the language; it is our first sign of the presence of a master’s hand; and when we do that, when we listen, it is because we have first pronounced the words and performed the text, so when we listen we hear, hear ourselves singing the saying, and now we are real readers, we are participating in the making, we are moving the tune along the line. . .” (ix).

Sadly, Gass is not as well known, even among academics and worshippers of the written word, as he should be, so here’s a biography in miniature. Born in Fargo, North Dakota, in 1924, Gass was educated at Kenyon College (A.B. in philosophy, 1947) and Cornell University (Ph.D. in philosophy, 1954). We mainly associate him with Washington University in St. Louis, where he taught from 1969 to 1990 and then established and directed the International Writers Center there until his retirement in 2000. He also taught at the College of Wooster (1949-54) and Purdue University (1955-1969). His fiction and other writings began to appear in the 1950s, and his debut novel,

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, all 650 postmodern pages of it, in 1995, and it won the American Book Award the following year, meanwhile accumulating an impressive array of both rose-tossing admirers and stone-throwing critics. This is a much-abbreviated description of his writings and awards over the decades.

, which is unusual among novelists, but it was typical for the way Gass approached all his writing projects. He tended to work with concepts for years before considering them complete enough to appear in print. By his own admission, Gass wrote slowly and revised obsessively. For instance, characters that first appeared in 1968’s

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Was an elaboration of the structure Gass invented for the long story “In the Heart of the Heart of the Country, ” first published in 1967. Gass’s final work is no exception. In fact, we can trace the origins of “Baroque Prose” all the way back to Gass’s unpublished doctoral dissertation, “A Philosophical Investigation of Metaphor” (1954). (Happily, the dissertation and even its early drafts are part of the Gass papers archived at Washington University’s Special Collections Department – a treasure trove of Gass material.)

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, issue 4, 2022. Gass’s widow, Mary Henderson Gass, generously and graciously sent me the entire manuscript in anticipation of this presentation. To date, plans for publication of the work are undecided. My main goals for this paper are to provide a brief description of “Baroque Prose” and to try to communicate its essence. The latter is challenging for a short presentation. Anyone who has read Gass’s nonfiction recalls that it is both tightly structured and marvelously meandering within its parts, which are constructed of highly poetic prose, often with comic touches. If one has read Gass’s nonfiction, I would say “Baroque Prose” most closely resembles his book-length essay

. He spends a significant amount of time telling us what it is, and what it isn’t. We recall, of course, that

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Refers to a style most associated with the seventeenth and eighteenth centuries, frequently applied to European art, music and architecture. We are told by various sources that it was known for its grandeur, sensuous richness, drama, dynamism, movement, tension, and emotional exuberance. Gass does refer fleetingly to some of the art forms known for their baroque attributes, but as his title makes clear, he chiefly analyzes baroque

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, particularly of the seventeenth century as it was practiced in the pulpit by two master rhetoricians, John Donne (1571/2-1631) and Jeremy Taylor (1613-1667). I calculate the “Baroque Prose” manuscript to be about 35, 520 words, but I do so without confidence. Gass gives us copious quotes from Donne and Taylor and others, often in single-spaced block quotes; and he indulges what was a lifelong pleasure by providing numerous detailed diagrams in the service of analyzing the passages. The manuscript is divided into three numbered and well-balanced sections of about 45-50 pages, each of which is wide-ranging and sometimes overlapping in scope. There is also a rough chronological organization at work, as Gass’s main interest in the first half of the book is Donne, and Taylor becomes the latter half’s primary focus.

Gass appears to have several purposes, including defining and describing what makes prose baroque; illustrating why it’s effective (when it is effective); describing its rise and fall in the historical context of Europe; providing biographies of principals like Donne and Taylor; arguing for our continued interest in the baroque style of prose; and telling an engaging story whose main character is baroque prose. Along the way, Gass is also entertaining us with his trademark style, not holding back at all in wowing us one last time with his signature metaphors and similes. And like all of Gass’s nonfiction (really all of Gass), “Baroque Prose” is both serious and funny.

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As noted earlier, Gass always maintained that effective writing was meant to be heard, not just read on the page by the eyes, but spoken, even if only to one’s internal ear, which makes his attraction to the subject of baroque prose quite natural. Throughout the manuscript, he provides italicized statements about baroque prose, eye-catching insertions that focus the reader on a particular aspect of his central subject. The first italicized insertion says, “Baroque prose begins as prose prepared to be performed . . . a prose that is therefore far from the book or paper, living, if it lives, in the listeners’ ears” ([4]). In fact, continues Gass, “once [the prose] reaches print, it will no longer be pronounced, no longer heard, no longer fed its breath, so no longer in being.” Regarding Donne’s baroque performances from the pulpit (Donne was ordained to the priesthood in the Church of England in 1615 and made Dean of St. Paul’s in 1621), Gass tells us, “Later, when publication was considered, a good deal of polish would be applied, removing, like soil from a shoe, much spontaneity, accident, and improvisation. Reading him now we must imagine dramatic pauses, gestures, sudden changes of posture, a play of facial expressions, extemporaneous additions, and the drama of the whisper and shout” ([11]).

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Gass breaks down Donne’s rhetorical strategy: “During his opening Donne is establishing, not his subject, or a textual interpretation . . . ; he is not springing an apothegm to satisfy the men or a sweet sentiment to please the ladies; rather he is gathering his ruling image and its materials as though he were a carpenter arriving at an important moment of construction. . . . Donne’s mind is always moving through the middle of a metaphor” ([15-16]). In this statement we can see that Gass is still working through an analysis that began with his doctoral dissertation, which he wrote in the early 1950s. In his philosophical inquiry into metaphor, Gass turned to Donne regularly. Oftentimes the precise passages appear in both the unpublished dissertation and “Baroque Prose” (for example, passages from Donne’s

). One of Gass’s concerns in his dissertation was how prose writers use language devices, like metaphor, compared to how poets tend to use them; and he returns to that comparison in “Baroque Prose, ” telling us that “in poetry [] modifiers often lie around as loose

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, issue 4, 2022. Gass’s widow, Mary Henderson Gass, generously and graciously sent me the entire manuscript in anticipation of this presentation. To date, plans for publication of the work are undecided. My main goals for this paper are to provide a brief description of “Baroque Prose” and to try to communicate its essence. The latter is challenging for a short presentation. Anyone who has read Gass’s nonfiction recalls that it is both tightly structured and marvelously meandering within its parts, which are constructed of highly poetic prose, often with comic touches. If one has read Gass’s nonfiction, I would say “Baroque Prose” most closely resembles his book-length essay

. He spends a significant amount of time telling us what it is, and what it isn’t. We recall, of course, that

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Refers to a style most associated with the seventeenth and eighteenth centuries, frequently applied to European art, music and architecture. We are told by various sources that it was known for its grandeur, sensuous richness, drama, dynamism, movement, tension, and emotional exuberance. Gass does refer fleetingly to some of the art forms known for their baroque attributes, but as his title makes clear, he chiefly analyzes baroque

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, particularly of the seventeenth century as it was practiced in the pulpit by two master rhetoricians, John Donne (1571/2-1631) and Jeremy Taylor (1613-1667). I calculate the “Baroque Prose” manuscript to be about 35, 520 words, but I do so without confidence. Gass gives us copious quotes from Donne and Taylor and others, often in single-spaced block quotes; and he indulges what was a lifelong pleasure by providing numerous detailed diagrams in the service of analyzing the passages. The manuscript is divided into three numbered and well-balanced sections of about 45-50 pages, each of which is wide-ranging and sometimes overlapping in scope. There is also a rough chronological organization at work, as Gass’s main interest in the first half of the book is Donne, and Taylor becomes the latter half’s primary focus.

Gass appears to have several purposes, including defining and describing what makes prose baroque; illustrating why it’s effective (when it is effective); describing its rise and fall in the historical context of Europe; providing biographies of principals like Donne and Taylor; arguing for our continued interest in the baroque style of prose; and telling an engaging story whose main character is baroque prose. Along the way, Gass is also entertaining us with his trademark style, not holding back at all in wowing us one last time with his signature metaphors and similes. And like all of Gass’s nonfiction (really all of Gass), “Baroque Prose” is both serious and funny.

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As noted earlier, Gass always maintained that effective writing was meant to be heard, not just read on the page by the eyes, but spoken, even if only to one’s internal ear, which makes his attraction to the subject of baroque prose quite natural. Throughout the manuscript, he provides italicized statements about baroque prose, eye-catching insertions that focus the reader on a particular aspect of his central subject. The first italicized insertion says, “Baroque prose begins as prose prepared to be performed . . . a prose that is therefore far from the book or paper, living, if it lives, in the listeners’ ears” ([4]). In fact, continues Gass, “once [the prose] reaches print, it will no longer be pronounced, no longer heard, no longer fed its breath, so no longer in being.” Regarding Donne’s baroque performances from the pulpit (Donne was ordained to the priesthood in the Church of England in 1615 and made Dean of St. Paul’s in 1621), Gass tells us, “Later, when publication was considered, a good deal of polish would be applied, removing, like soil from a shoe, much spontaneity, accident, and improvisation. Reading him now we must imagine dramatic pauses, gestures, sudden changes of posture, a play of facial expressions, extemporaneous additions, and the drama of the whisper and shout” ([11]).

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Gass breaks down Donne’s rhetorical strategy: “During his opening Donne is establishing, not his subject, or a textual interpretation . . . ; he is not springing an apothegm to satisfy the men or a sweet sentiment to please the ladies; rather he is gathering his ruling image and its materials as though he were a carpenter arriving at an important moment of construction. . . . Donne’s mind is always moving through the middle of a metaphor” ([15-16]). In this statement we can see that Gass is still working through an analysis that began with his doctoral dissertation, which he wrote in the early 1950s. In his philosophical inquiry into metaphor, Gass turned to Donne regularly. Oftentimes the precise passages appear in both the unpublished dissertation and “Baroque Prose” (for example, passages from Donne’s

). One of Gass’s concerns in his dissertation was how prose writers use language devices, like metaphor, compared to how poets tend to use them; and he returns to that comparison in “Baroque Prose, ” telling us that “in poetry [] modifiers often lie around as loose

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