Актаон: Миф, трансформация и символизм в искусстве.

Greek mythical character

Actaeon (/æ//k/'/t//iː//ə//n/; [[wikt:Ἀκταίων Aktaiōn), in Greek mythology, was the son of the priestly herdsman Aristaeus and Autonoe in Boeotia, and a famous Theban hero. Through his mother he was a member of the ruling House of Cadmus. Like Achilles, in a later generation, he was trained by the centaur Chiron. He fell to the fatal wrath of Artemis (later his myth was attached to her Roman counterpart Diana), but the surviving details of his transgression vary: "the only certainty is in what Aktaion suffered, his pathos, and what Artemis did: the hunter became the hunted; he was transformed into a stag, and his raging hounds, struck with a 'wolf's frenzy' (Lyssa), tore him apart as they would a stag." The many depictions both in ancient art and in the Renaissance and post Renaissance art normally show either the moment of transgression and transformation, or his death by his own hounds.

In the second century AD, the traveller Pausanias was shown a spring on the road in Attica leading to Plataea from Eleutherae, just beyond Megara "and a little farther on a rock. It is called the bed of Actaeon, for it is said that he slept thereon when weary with hunting and that into this spring he looked while Artemis was bathing in it." "As to Actæon there is a tradition at Orchomenus, that a spectre which sat on a stone injured their land. And when they consulted the oracle at Delphi, the god bade them bury in the ground whatever remains they could find of Actæon: he also bade them to make a brazen copy of the spectre and fasten it with iron to the stone. This I have myself seen, and they annually offer funeral rites to Actæon."

In Greek Mythology, Actaeon is widely thought to symbolize ritual human sacrifice in attempt to please a God or Goddess: the dogs symbolize the sacrificers and Actaeon symbolizes the sacrifice. Actaeon may symbolize human curiosity or irreverence. The myth is seen by Jungian psychologist Wolfgang Giegerich as a symbol of spiritual transformation and/or enlightenment. Actaeon often symbolizes a cuckold, as when he is turned into a stag, he becomes "horned". This is alluded to in Shakespeare's Merry Wives, Robert Burton's Anatomy of Melancholy, and others.

The two main scenes are Actaeon surprising Artemis/Diana, and his death. In classical art Actaeon is normally shown as fully human, even as his hounds are killing him (sometimes he has small horns), but in Renaissance art he is often given a deer's head with antlers even in the scene with Diana, and by the time he is killed he has at the least this head, and has often completely transformed into the shape of a deer. Aeschylus and other tragic poets made use of the story, which was a favourite subject in ancient works of art. There is a well known small marble group in the British Museum illustrative of the story, in gallery 83/84. Two paintings by the 16th century painter Titian (Death of Actaeon and Diana and Actaeon). Actéon, an operatic pastorale by Marc Antoine Charpentier. Percy Bysshe Shelley suggests a parallel between his alter ego and Actaeon in his elegy for John Keats, Adonais, stanza 31 ('[he] had gazed on Nature's naked loveliness/ Actaeon like, and now he fled astray/ / And his own thoughts, along that rugged way,/ Pursued, like raging hounds, their father and their prey.') The aria "Oft she visits this lone mountain" from Purcell's Dido and Aeneas, first performed in 1689 or earlier. Giordano Bruno, Gli Eroici Furori. In canto V of Giambattista Marino's poem italic=y the protagonist goes to theater to see a tragedy representing the myth of Actaeon. This episode foreshadows the protagonist's violent death at the end of the book. In Act I Scene 2 of Jacques Offenbach's Orpheus in the Underworld, Actaeon is Diana (Artemis)'s lover, and it is Jupiter who turns him into a stag, which puts Diana off hunting. His story is relinquished at this point, in favour of the other plots. Ted Hughes wrote a version of the story in his Tales from Ovid. Diane and Actéon Pas de Deux from Marius Petipa's ballet, Le Roi Candaule, to the music by Riccardo Drigo and Cesare Pugni, later incorporated into the second act of La Esmeralda (ballet). In Twelfth Night by William Shakespeare, Orsino compares his unrequited love for Olivia to the fate of Actaeon. "O, when mine eyes did see Olivia first, Methought she purged the air of pestilence, That instant was I turned into a hart, and my desires like fell and cruel hounds e'er since pursue me." Act 1 Scene 1. In Christopher Marlowe's play Edward II, courtier Piers Gaveston seeks to entertain his lover, King Edward II of England, by presenting a play based on the Actaeon myth. In Gaveston's version, Diane is played by a naked boy holding an olive branch to hide his loins, and it is the boy Diane who transforms Actaeon into a hart and lets him be devoured by the hounds. Thus, Gaveston's (and Marlowe's) interpretation adds a strong element of homoeroticism, absent from the original myth. Paul Manship in 1925 created a set of copper statute of Diane and Actaeon, which in the Luce Lunder Smithsonian Institution. French based collective LFKs and his film/theatre director, writer and visual artist Jean Michel Bruyere produced a series of 600 shorts and "medium" films, an interactive 360° installation, Si poteris narrare licet ("if you are able to speak of it, then you may do so") in 2002, a 3D 360° installation La Dispersion du Fils (from 2008 to 2016) and an outdoor performance, Une Brutalité pastorale (2000) all about the myth of Diana and Actaeon. In Matthew Barney's 2019 movie Redoubt set in the Sawtooth Mountains of the U. S. state of Idaho and an accompanying traveling art exhibition originating at the Yale University Art Gallery the myth is retold by the visual artist and filmmaker via avenues of his own design. Seamus Heaney's collection North contains an aisling concerning the myth of Diana and Actaeon.