Andromeda (mythology)

This is a good article. Click here for more information.
Source: Wikipedia, the free encyclopedia.

"Perseus and Andromeda" redirects here. For other uses, see Perseus and Andromeda (disambiguation).
Andromeda

In

romanized: Androméda or Ἀνδρομέδη, Andromédē) is the daughter of Cepheus, the king of Aethiopia, and his wife, Cassiopeia. When Cassiopeia boasts that she (or Andromeda) is more beautiful than the Nereids, Poseidon sends the sea monster Cetus to ravage the coast of Aethiopia as divine punishment. Queen Cassiopeia understands that chaining Andromeda to a rock as a sacrifice is what will appease Poseidon. Perseus finds her as he is coming back from his quest to decapitate Medusa, and brings her back to Greece to marry her and let her reign as his queen. With the head of Medusa he turns Cetus
to stone to stop it from terrorizing the coast any longer.

As a subject, Andromeda has been popular in art since classical times; rescued by a Greek hero, Andromeda's narration is considered the forerunner to the "princess and dragon" motif. From the Renaissance, interest revived in the original story, typically as derived from Ovid's Metamorphoses. The story has appeared many times in such diverse media as plays, poetry, novels, operas, classical and popular music, film, and paintings. A significant part of the northern sky contains several constellations named after the story's figures; in particular, the constellation Andromeda is named after her.

The Andromeda tradition, from classical times onwards, has incorporated elements of other stories, including

epic poem Orlando Furioso, which tells a similar story, has introduced further confusion.[2] The tradition has been criticized for depicting the princess of Aethiopia as white; few artists have chosen to portray her as dark-skinned, despite Ovid's account of her.[3] Others have noted that Perseus's liberation of Andromeda was a popular choice of subject among male artists, reinforcing a narrative of male superiority with its powerful male hero and its submissive female in bondage.[4][5]

Etymology

The name Andromeda is from the Greek Ἀνδρομέδα, Androméda, perhaps meaning 'mindful of her husband'. The name is from the noun ἀνήρ, ἀνδρός, anēr, andrós meaning 'man', and a verb, whether μεδεσθαι, medesthai, 'to be mindful of', μέδω, mēdein, 'to protect, rule over', or μήδομαι, mēdomai, 'to deliberate, contrive, decide', all related to μήδεια, mēdeia, 'plans, cunning', the likely origin of the name of Medea, the sorceress.[6]

Classical mythology

Central story

In

Gorgon Medusa and carrying her severed head, which instantly turns to stone any who look at it. Upon seeing Andromeda bound to the rock, Perseus falls in love with her, and he secures Cepheus' promise of her hand in marriage if he can save her. Perseus kills the monster with the Medusa's head, saving Andromeda. Preparations are then made for their marriage, in spite of her having been previously promised to her uncle, Phineus. At the wedding, a quarrel between the rivals ends when Perseus shows Medusa's head to Phineus and his allies, turning them to stone.[8][9][10]

Andromeda follows her husband to his native island of

Gorgophone. Their descendants rule Mycenae from Electryon down to Eurystheus, after whom Atreus attains the kingdom. The Greek hero Heracles is also a descendant, as his mother Alcmene is the daughter of Electryon.[13]

According to the Catasterismi, Andromeda is placed in the sky by Athena as the constellation Andromeda, in a pose with her limbs outstretched, similar to when she was chained to the rock, in commemoration of Perseus' bravery in fighting the sea monster.[14]

In classical art

The myth of Andromeda was represented in the art of ancient Greece and of Rome in media including red-figure pottery such as pelike jars,[15] frescoes,[16] and mosaics.[17] Depictions range from straightforward representations of scenes from the myth, such as of Andromeda being tied up for sacrifice, to more ambiguous portrayals with different events depicted in the same painting, as at the Roman villa in Boscotrecase, where Perseus is shown twice, space standing in for time.[16] Favoured scenes changed with time: until the 4th century BC, Perseus was shown decapitating Medusa, while after that, and in Roman portrayals, he was shown rescuing Andromeda.[18]

  • Perseus defends Andromeda from the monster Cetus by pelting it with stones. Corinthian amphora, 575–550 BC
    Perseus defends Andromeda from the monster Cetus by pelting it with stones. Corinthian amphora, 575–550 BC
  • Andromeda being tied for sacrifice. Apulian red-figure vase, c. 430–420 BC
    Andromeda being tied for sacrifice.
    Apulian red-figure vase
    , c. 430–420 BC
  • Perseus holds up Medusa's head so Andromeda may safely see its reflection in the pool below. Fresco, 1st century AD, Pompeii
    Perseus holds up Medusa's head so Andromeda may safely see its reflection in the pool below. Fresco, 1st century AD, Pompeii
  • Roman wall painting of Perseus and Andromeda from Boscotrecase, late 1st century BC
    Roman wall painting of Perseus and Andromeda from Boscotrecase, late 1st century BC
  • Detail of Andromeda mosaic from 'House of Poseidon' in Zeugma, Turkey, 2nd–3rd century AD
    Detail of Andromeda mosaic from 'House of Poseidon' in Zeugma, Turkey, 2nd–3rd century AD

Variants

There are several variants of the legend. In Hyginus's account, Perseus does not ask for Andromeda's hand in marriage before saving her, and when he afterwards intends to keep her for his wife, both her father Cepheus and her uncle Phineas plot against him, and Perseus resorts to using Medusa's head to turn them to stone.[19] In contrast, Ovid states that Perseus kills Cetus with his magical sword, even though he also carries Medusa's head, which could easily turn the monster to stone (and Perseus does use Medusa's head for this purpose in other situations). The earliest straightforward account of Perseus using Medusa's head against Cetus, however, is from the later 2nd-century AD satirist Lucian.[20]

The 12th-century

Byzantine writer John Tzetzes says that Cetus swallows Perseus, who kills the monster by hacking his way out with his sword.[21] Conon places the story in Joppa (Iope or Jaffa, on the coast of modern Israel), and makes Andromeda's uncles Phineus and Phoinix rivals for her hand in marriage; her father Cepheus contrives to have Phoinix abduct her in a ship named Cetos from a small island she visits to make sacrifices to Aphrodite, and Perseus, sailing nearby, intercepts and destroys Cetos and its crew, who are "petrified by shock" at his bravery.[22]

Constellations

The constellation Andromeda as depicted in Urania's Mirror by Sidney Hall, c. 1825

Andromeda is represented in the

Seriphos, the place where Perseus and his mother Danaë were stranded.[23]

In literature

In poetry

astrological harmony of Venus and Mars which perfects the character of Perseus, since Venus was thought always to dominate Mars. Unfortunately for Chapman, Essex supposed that he was represented by the "barraine rocke" that Andromeda was chained up to: Howard had divorced Essex on the grounds that he could not consummate their marriage, and she had married Carr with her hair untied, indicating that she was a virgin. Further, the poem could be read as having dangerous political implications, involving King James.[25]

pagan princess named Angelica who at one point is in exactly the same situation as Andromeda, chained naked to a rock on the sea as a sacrifice to a sea monster, and is saved at the last minute by the Saracen knight Ruggiero. Images of Angelica and Ruggiero are often hard to distinguish from those of Andromeda and Perseus.[2]

John Keats's 1819 sonnet On the Sonnet compares the restricted sonnet form to the bound Andromeda as being "Fetter'd, in spite of pained loveliness".[26] William Morris retells the story of Perseus and Andromeda in his epic 1868 poem The Earthly Paradise, in the section April: The Doom of King Acrisius.[27] Gerard Manley Hopkins's sonnet Andromeda[28] (1879) has invited many interpretations.[29][30] Charles Kingsley's hexameter poem retelling the myth, Andromeda (1858), was set to music by Cyril Rootham in his Andromeda (1905).[31]

In novels

In the 1851 novel

LSD-fuelled vision of a serpent; when he returns to London, he becomes ill on seeing Titian's painting, whereupon his cousin James comes to his rescue.[37]

In the performing arts

Timeline of Andromeda's appearance in different art forms
Period Story Visual arts Theatre Opera Poetry Film
Classical antiquity Greek and Roman mythology; Ovid and others; myths of Heracles and Hesione; Jason and Medea; Cadmus and Harmonia; Theseus and Ariadne Painted vases, frescoes, mosaics Sophocles, Euripides (both lost); Aristophanes (parody)
Middle Ages Saint George and the Dragon Paolo Uccello
16th century Piero di Cosimo; Titian
17th century Giuseppe Cesari; Peter Paul Rubens; Rembrandt Lope de Vega; Pierre Corneille verse play; Pedro Calderón de la Barca Claudio Monteverdi; Benedetto Ferrari 1st opera open to public; Jean-Baptiste Lully Ludovico Ariosto Orlando Furioso
18th century François Boucher 17 Andromeda operas in Italy George Chapman Andromeda liberata allegory for a society wedding
19th century Herman Melville Moby-Dick (chs 55, 82); Jules Laforgue satirical
Frederic, Lord Leighton; Edward Poynter; Gustave Doré
 John Keats On the Sonnet; Gerard Manley Hopkins sonnet; Charles Kingsley free verse
20th–21st centuries
The Sea, The Sea
 Félix Vallotton satirical; Alexander Liberman non-figurative Clash of the Titans 1981 and 2010 remake

In theatre

The theme, well suited to the stage,[5] was introduced to theatre by Sophocles in his lost tragedy Andromeda (5th century BC), which survives only in fragments. Euripides took up the theme in his play of the same name (412 BC), also now lost, but parodied by Aristophanes in his comedy Thesmophoriazusae (411 BC) and influential in the ancient world. In the parody, Mnesilochus is shaved and dressed as a woman to gain entrance to the women's secret rites, held in honour of the fertility goddess Demeter. Euripides swoops mock-heroically across the stage as Perseus on a theatrical crane, trying and failing to rescue Mnesilochus, who responds by acting out the role of Andromeda.[38]

The legend of Perseus and Andromeda became popular among playwrights in the 17th century, including Lope de Vega's 1621 El Perseo,[39] and Pierre Corneille's famous[5] 1650 verse play Andromède, with dramatic stage machinery effects, including Perseus astride Pegasus as he battles the sea monster. The play, a pièce à machines, presented to King Louis XIV of France and performed by the Comédiens du Roi, the royal troupe, had enormous and lasting success, continuing in production until 1660, to Corneille's surprise.[5][40] The production was a radical departure from the tradition of French theatre, based in part on the Italian tradition of operas about Andromeda; it was semi-operatic, with many songs, set to music by D'Assouci, alongside the stage scenery by the Italian painter Giacomo Torelli. Corneille chose to present Andromeda fully-clothed, supposing that her nakedness had been merely a painterly tradition; Knutson comments that in so doing, "he unintentionally broke the last link with the early erotic myth."[5]

Pedro Calderón de la Barca's 1653 Las Fortunas de Perseo y Andrómeda was also inspired by Corneille,[5] and like El Perseo was heavily embellished with the playwrights' inventions and traditional additions.[39]

  • Set design for Pierre Corneille's 1650 Andromède, noted for its stage effects: Act 2, where Aeolus and eight winds lift Andromeda into the clouds, with thunder and lightning[40]
    Set design for Pierre Corneille's 1650 Andromède, noted for its stage effects: Act 2, where Aeolus and eight winds lift Andromeda into the clouds, with thunder and lightning[40]
  • Andromède, Act 3, where Perseus, riding Pegasus, rescues a fully-clothed Andromeda from the sea monster[40]
    Andromède, Act 3, where Perseus, riding Pegasus, rescues a fully-clothed Andromeda from the sea monster[40]

The Andromeda theme was explored later in works such as Muriel Stuart's closet drama Andromeda Unfettered (1922), featuring: Andromeda, "the spirit of woman"; Perseus, "the new spirit of man"; a chorus of "women who desire the old thrall"; and a chorus of "women who crave the new freedom".[41]

In music and opera

The Andromeda theme has been popular in classical music since the 17th century. It became a theme for opera from the 16th century, with an Andromeda in Italy in 1587.[5] This was followed by Claudio Monteverdi's Andromeda (1618-1620).[42] Benedetto Ferrari's Andromeda, with music by Francesco Manelli, was the first opera performed in a public theatre, Venice's Teatro San Cassiano, in 1637.[43] This set the pattern for Italian opera for several centuries.[44][45]

tragédie lyrique in 5 acts, was inspired by the popularity of Corneille's play.[40] The libretto was by Philippe Quinault, and a real horse appeared on stage as Pegasus.[5] Persée saw an initial run of 33 consecutive performances, 45 in total, exceptional at that time.[5] Written for King Louis XIV, it has been described as Lully's "greatest creation [...] considered the crowning achievement of 17th century French music theatre. Filled with dancing, fight scenes, monsters and special effects [...] [a] truly spectacular opera".[46] Michael Haydn wrote the music for another in 1797.[5] A total of seventeen Andromeda operas were created in Italy in the 18th century.[5]

Other classical works have taken a variety of forms including

Vivaldi,[47] and Carl Ditters von Dittersdorf's Symphony
in F (Perseus' Rescue of Andromeda) and Symphony in D (The Petrification of Phineus and his Friends), Nos. 4 and 5 of his Symphonies after Ovid's Metamorphoses (c. 1781).

In the 19th century, Augusta Holmès composed the symphonic poem Andromède (1883). In 2019, Caroline Mallonée wrote her Portraits of Andromeda for cello and string orchestra.[48]

In popular music, the theme is employed in tracks on Weyes Blood's 2019 album Titanic Rising and on Ensiferum's 2020 album Thalassic.[49]

In film

The 1981 film Clash of the Titans is loosely based on the story of Perseus, Andromeda, and Cassiopeia. In the film the monster is a kraken, a giant squid-like sea monster in Norse mythology, rather than the whale-like Cetos of Greek mythology. Perseus defeats the sea monster by showing it Medusa's face to turn it into stone, rather than by using his magical sword, and rides Pegasus.[50]

The 2010 remake with the same title, adapts the original story. Andromeda is set to be sacrificed to the kraken but is saved by Perseus. The historian and filmmaker Henry Louis Gates Jr. criticizes both the original film and its remake for using white actresses to portray the Ethiopian princess Andromeda.[51]

Desmond Davis's 1981 film Clash of the Titans has been criticized for choosing to use a white actress, Judi Bowker, for the role of Andromeda, princess of Aethiopia.[51]

In art

Merged traditions

The legend of

winged sandals.[1]

Idealized beauty to realism

Andromeda, and her role in the popular myth of Perseus, has been the subject of numerous ancient and modern works of art, where she is represented as a bound and helpless, typically beautiful, young woman placed in terrible danger, who must be saved through the unswerving courage of a hero who loves her. She is often shown, as by

Frederic, Lord Leighton's Gothic style 1891 Perseus and Andromeda painting presents the white body of Andromeda in pure and untouched innocence, indicating an unfair sacrifice for a divine punishment that was not directed towards her, but to her mother. Pegasus and Perseus are surrounded by a halo of light that connects them visually to the white body of the princess.[54]

Varied materials and approaches

Apart from oil on canvas, artists have used a variety of materials to depict the myth of Andromeda, including the sculptor Domenico Guidi's marble, and François Boucher's etching. In modern art of the 20th century, artists moved to depict the myth in new ways. Félix Vallotton's 1910 Perseus Killing the Dragon is one of several paintings, such as his 1908 The Rape of Europa, in which the artist depicts human bodies using a harsh light which makes them appear brutal.[55] Alexander Liberman's 1962 Andromeda is a black circle on a white field, transected by purple and dark green crescent arcs.[56]

Analysis

Ethnicity

Further information: Aethiopia and White Aethiopians
According to Herodotus in the 5th century BC, the Aethiopians were a dark-skinned people occupying the whole of the southernmost fringes of the inhabitable world, to the south of Libya.[57]

Andromeda was the daughter of the king and queen of Aethiopia, which

Cambyses II of Persia to invade Ethiopia (Kush).[60]

By the 1st century BC a rival location for Andromeda's story had become established: an outcrop of rocks near the ancient port city of Joppa, as reported by Pomponius Mela,[61] the traveller Pausanias,[62] the geographer Strabo,[63] and the historian Josephus.[64] A case has been made that this new version of the myth was exploited to enhance the fame and serve the local tourist trade of Joppa, which also became connected with the biblical story of Jonah and yet another huge sea creature.[65][66] This was at odds with Andromeda's African origins, adding to the confusion already surrounding her ethnicity, as reflected in 5th-century BC Greek vase images showing Andromeda attended by dark-skinned African servants and wearing clothing that would have looked foreign to Greeks, yet with light skin.[67] In the Greek Anthology, Philodemus (1st century BC) wrote about the "Indian Andromeda".[68]

The art historian Elizabeth McGrath discusses the tradition, as promoted by the influential Roman poet Ovid, that Andromeda was a dark-skinned woman of either Ethiopian or Indian origin.[69] In his Heroides, Ovid has Sappho explain to Phaon: "If I'm not pale, Andromeda pleased Perseus, dark with the colour of her father Cepheus's land. And often white pigeons mate with other hues, and the dark turtledove's loved by emerald birds";[70] the Latin word fuscae Ovid uses here for 'dark Andromeda' refers to the colour black or brown. Elsewhere he says that Perseus brought Andromeda from "darkest" India[71] and declares "Nor was Andromeda's colour any problem to her wing-footed aerial lover"[72] adding that "White suits dark girls; you looked so attractive in white, Andromeda".[73] Ovid's account of Andromeda's story[74] follows Euripides' play Andromeda in having Perseus initially mistake the chained Andromeda for a statue of marble, which has been taken to mean she was light-skinned; but since statues in Ovid's time were commonly painted to look like living people, her skin could have been of any colour.[75] The ambiguity is reflected in a description by the 2nd-century AD sophist Philostratus of a painting depicting Perseus and Andromeda. He emphasizes the painting's Ethiopian setting, and notes that Andromeda "is charming in that she is fair of skin though in Ethiopia," in clear contrast to the other "charming Ethiopians with their strange coloring and their grim smiles" who have assembled to cheer Perseus in this picture.[76] Heliodorus of Emesa follows Philostratus in describing Andromeda as light-skinned in contrast to the clearly dark-skinned Aethiopians; in his Aethiopica, Queen Persinna of Aethiopia gives birth to an inexplicably white girl, Chariclea. Heliodorus states that this happened because the queen had gazed at a picture of Andromeda in the palace. The scholar of literature John Michael Archer calls this an example of "how African space is defined by European reference points".[77]

Artworks in the modern era continue to portray Andromeda as fair-skinned, regardless of her stated origins; only a small minority of artists, such as an engraving after

white superiority took precedence, and that "the visual of a white man rescuing a chained up black woman would have been too much of a trigger".[3]

  • Engraving after Abraham van Diepenbeeck, The Rescue of Andromeda (1632–1635), from M. de Marolles, Tableaux du Temple des Muses (Paris, 1655), is unusual in showing Andromeda as dark-skinned.[3]
    Engraving after Abraham van Diepenbeeck, The Rescue of Andromeda (1632–1635), from M. de Marolles, Tableaux du Temple des Muses (Paris, 1655), is unusual in showing Andromeda as dark-skinned.[3]
  • Eugène Delacroix, Perseus and Andromeda, c. 1853, follows the mainstream in depicting Andromeda as light-skinned.
    Eugène Delacroix, Perseus and Andromeda, c. 1853, follows the mainstream in depicting Andromeda as light-skinned.

Bondage and rescue

The Andromeda story has been compared to the erotically charged painting, John Everett Millais's The Knight Errant (1870), which embodies similar psychological motifs.[4]

The imagery of Perseus and Andromeda was depicted by many artists of the Victorian era. Adrienne Munich states that most of these choose the moment after the hero Perseus has killed Medusa and is preparing to "slay the dragon and unbind the maiden".[4] In her view, this transitional moment just precedes "the hero's final test of manhood before entering adult sexuality".[4] Andromeda, on the other hand, "has no story, but she has a role and a lineage", being a princess, and having "attributes: chains, nakedness, flowing hair, beauty, virginity. Without a voice in her fate, she neither defies the gods nor chooses her mate."[4] Munich comments that given that most of the artists were men, "it can be thought of as a male myth", providing convenient gender roles. She cites Catherine MacKinnon's description of the gender differences as "the erotization of dominance and submission": the male gets the power and the female is submissive. Further, the rescue myth provides a "veneer of charity" over the themes of aggression and possession.[4]

Munich likens the effect to

Freudian "primal scene". The knight kills the man and frees the woman. She asks whether Millais's knight is hiding from the woman's body, or demonstrating self-control, or whether he has "killed his own more aggressive self".[4] She states that similar psychological themes are implied by the story of Perseus and Andromeda: Perseus makes Andromeda into a mother, thus Oedipally "conflating the purpose of his quest with the goal of finding a wife."[4]

As for the bondage, Munich notes that the Victorian critic John Ruskin attacked male exploitation of what she calls "suffering nudes as subjects for titillating pictures."[4] "Andromeda" is, she writes, the name of a type of "debased" imagery. She gives as example Gustave Doré's drawing of the voluptuously chained-up Angelica for Orlando Furioso, where "torment combines with an artistic pose, giving a new meaning to the concept of the 'pin-up'."[4] She notes Ruskin's assertion that the image linked nude prostitutes to the naked Christ, both perverting the meaning of Andromeda's suffering and "blasphem[ing] Christ's sacrifice".[4]

Further, Munich writes, Andromeda's name means 'Ruler of Men', hinting at her power; and indeed, she can be seen as "the good sister" of the monstrous female, the Medusa who turns men to stone. In psychological terms, she comments, "by slaying the Medusa and freeing Andromeda, the hero tames the chaotic female, the very sign of nature, simultaneously choosing and constructing the socially defined and acceptable female behavior."[4]

Adrienne Munich's analysis of the Andromeda myth[4]
The story of Cadmus, Harmonia, and the dragon is one of several myths similar to that of Perseus and Andromeda.[5] Black-figured amphora from Euboea, 560–550 BC

The scholar of literature Harold Knutson describes the story as having a "disturbing sensuality", which together with the evident injustice of Andromeda's "undeserved sacrifice, create a curiously ambiguous effect".[5] He suggests that in the earlier Palestinian version, the woman was the object of desire, Aphrodite/Ishtar/Astarte, and the hero was the sun god Marduk. The monster was woman in evil form, so chaining her human form would keep her from further evil. Knutson comments that the myth illustrates "the ambiguous male view of the eternal female principle."[5]

Knutson writes that a similar pattern is seen in several other myths, including Heracles' rescue of Hesione; Jason's rescue of Medea from the hundred-eyed dragon; Cadmus's rescue of Harmonia from a dragon; and in an early version of another tale, Theseus's rescue of Ariadne from the Minotaur. He comments that all of this points to "the richness of the [story's] archetypal model", citing Hudo Hetzner's analysis of the many stories that involve a hero rescuing a maiden from a monster. The beast may be a sea-monster, or it may be a dragon that lives in a cave and terrifies a whole country, or the monstrous Count Dracula who lives in a castle.[5]

See also

  • Hesione – saved by Heracles from a sea monster
  • Iphigenia – sacrificed to the goddess Artemis (or rescued, depending on the version)

References

  1. ^
    ISBN 978-1-5804-4089-9
    .
  2. ^ a b c Ekall, Patricia Yaker (17 August 2021). "Andromeda: forgotten woman of Greek mythology". Art UK. Retrieved 29 December 2022.
  3. ^
    OCLC 18909224
    .
  4. ^
    ISBN 978-0-4150-6460-6
    .
  5. ^ "Andromeda". Online Etymology Dictionary. Retrieved 3 January 2023.
  6. De Astronomica 2.10 cite Sophocles' lost play Andromeda as their source for this. According to Hyginus, Fabulae 64
    Cassiopeia boasts of her daughter Andromeda's beauty rather than of her own.
  7. ISBN 978-0-19-521030-9
    .
  8. ISBN 0-500-27049-X
    .
  9. Metamorphoses 4.663–5.235; Marcus Manilius, Astronomica, 5.538–618 (pp. 344–51)
    .
  10. ^ Hard 2004, p. 242; Apollodorus, Library, 2.4.3.
  11. ^ Apollodorus, Library, 2.4.4.
  12. FGrHist 31 F15) adds Mestor
    to these three.
  13. De Astronomica 2.11.1. The Catasterismi cites Euripides' lost play Andromeda
    as the source of this account.
  14. JSTOR 43481008
    .
  15. ^
    JSTOR 3051334
    .
  16. ^ Beeson, A. J. (1986). "Perseus and Andromeda as lovers. A mosaic panel from Brading and its origins". Mosaic (17): 13–19.
  17. ISBN 978-1-58839-642-6
    .
  18. ^ Hyginus, Fabulae, 64.
  19. ^ Lucian, The Hall 22 (pp. 200, 201).
  20. Tzetzes on Lycophron, 836 (pp. 820–1)
    .
  21. ^ Conon, Narrations, 40 (Trzaskoma, Smith and Brunet, p. 88).
  22. ISBN 978-0-596-52685-6
    .
  23. ^ Chapman, George. Andromeda liberata. University of Michigan. Retrieved 31 December 2022.
  24. ^
    S2CID 164121070
    .
  25. S2CID 242479172
    . Retrieved 14 January 2023.
  26. JSTOR 40001829
    .
  27. ^ Hopkins, Gerard Manley (1879) Andromeda
  28. ^ Mariani, Paul L. "Hopkins' "Andromeda" and the New Aestheticism," Victorian Poetry, Vol. 11, No. 1 (Spring, 1973), pp. 39-54
  29. JSTOR 40001776
    .
  30. ^ "Andromeda Cartoons by Matt Lawrence". Cantata Dramatica. 2015. Retrieved 29 December 2022. Some of the cartoons are accompanied by extracts from a recording made in 2019, a full version of which can be heard on the website of Cyril Bradley Rootham.
  31. ^ Melville, Herman (1851). Moby-Dick.
  32. ^
    JSTOR 4122318
    .
  33. ^
    Salt Lake Tribune
    . 20 June 1909.
  34. ISBN 978-1-7433-2579-7
    .
  35. ^ Nichols, Robert. "Perseus and Andromeda", Fantastica: being the smile of the Sphinx and other tales of imagination, Macmillan, 1923. The variant tales are on pages 75ff, 87ff, and 95ff respectively.
  36. ^
    JSTOR 1208351
    .
  37. S2CID 161684940
    .
  38. ^
    S2CID 163848591
    .
  39. ^
    S2CID 162104879
    .
  40. ^ Stuart, Muriel. "Andromeda Unfettered". Verse Press. Retrieved 31 December 2022.
  41. JSTOR 855431
    .
  42. ^ L'Andromeda, Antonio Bariletti, Venice, 1637, p. 3.
  43. ^ Bianconi, Lorenzo (1987). Music in the Seventeenth Century. Cambridge: Cambridge University Press. p. 183. the Venetian-type theatre [...] comes to represent something of an economic and architectural prototype for Italy and Europe as a whole. At least architecturally, this prototype still survives essentially unchanged...
  44. ^ Rosand, Ellen (1990). "3 Da rappresentare in musica: The Rise of Commercial Opera". Opera in Seventeenth-Century Venice. Berkeley: University of California Press. Archived from the original on 31 December 2022.
  45. EuroArts
    . Prog. No. 5417. Retrieved 31 December 2022.
  46. ^ Cookson, Michael. "[Review] Antonio Vivaldi (1678-1741) Serenata Veneziana - Andromeda Liberata". Music Web International. Retrieved 1 January 2023.
  47. ^ "A Buffalo composer puts Andromeda—constellation, myth and meteors—to music". 2 May 2019.
  48. ^ Archived at Ghostarchive and the Wayback Machine: "Ensiferum - Andromeda (OFFICIAL VIDEO)". YouTube.
  49. ^ Gloyn, Liz (2012). "'The Dragon-Green, the Luminous, the Dark, the Serpent-Haunted Sea': Monsters, Landscape and Gender In Clash of the Titans (1981 and 2010)" (PDF). NEW VOICES IN CLASSICAL RECEPTION STUDIES Conference Proceedings. 1: 64–75.
  50. ^ a b Gates, Henry Louis Jr. (17 Feb 2014). "Was Andromeda Black?". Roots.
  51. ^ a b Baumbach, Manuel (2010). "Pegasus". In Grafton, Anthony; Most, Glenn W.; Settis, Salvatore (eds.). The Classical Tradition. Harvard University Press. p. 699.
  52. ^ a b Clark, Kenneth (1966). Rembrandt and the Italian Renaissance. New York University Press. p. 11.
  53. ^ a b "andromeda". Loggia.com. Archived from the original on 14 April 2015. Retrieved 8 April 2015.
  54. ^ a b "Biography". Félix Vallotton. Retrieved 29 December 2022.
  55. Tate Gallery
    . Retrieved 29 December 2022.
  56. Perseus Project
    .
  57. ISBN 0-415-03185-0
    .
  58. JSTOR 20547123
    .
  59. ^ Herodotus, Histories 3.114, 3.94, 7.70.
  60. ^ Pomponius Mela, 1.64.
  61. ^ Pausanias, 4.35.9.
  62. ^ Strabo, 1.2.35, 16.2.28.
  63. ^ Josephus, Jewish War 3.9.3.
  64. ^ Harvey, Paul Jr., "The death of mythology: the case of Joppa", Journal of Early Christian Studies, January 1994, Vol. 2 Issue: Number 1 p. 1-14
  65. S2CID 190063227
    .
  66. ^ "Pelike".
  67. ^ Greek Anthology, 5.132 (English translation; Greek text).
  68. S2CID 195025221
    .
  69. ^ Ovid, Heroides, 15.35–38.
  70. ^ Ovid, Ars Amatoria 1.53.
  71. ^ Ovid, Ars Amatoria 2.643–644.
  72. ^ Ovid, Ars Amatoria 3.191–192.
  73. ^ Ovid, Metamorphoses 4.665 ff.
  74. OCLC 982089362
    .
  75. ^ Philostratus, Imagines 1.29.
  76. ISBN 978-0-8047-4337-2
    .

Sources

Further reading

Wikisource has the text of the Encyclopædia Britannica (9th ed.) article Andromeda.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Andromeda_(mythology)&oldid=1214689126"