Robin Masters, only seen onscreen sporadically, and most definitely not from the neck up. Icepick was only mentioned and never actually seen for the first few seasons.
He says that Mercury was the most honoured of all the gods and many images of him were to be found. Mercury was regarded as the inventor of all the arts, the patron of travellers and of merchants, and the most powerful god in matters of commerce and gain.
After him the Gauls honoured Apollo, who drove away diseases, Mars, who controlled war, Jupiter, who ruled the heavens, and Minerva, who promoted handicrafts.
He adds that the Gauls regarded Dis Pater as their ancestor. In characteristic Roman fashion, Caesar does not refer to these figures by their native names but by the names of the Roman gods with which he equated them, a procedure that greatly complicates the task of identifying his Gaulish deities with their counterparts in the insular literatures.
He also presents a neat schematic equation of god and function that is quite foreign to the vernacular literary testimony. Yet, given its limitations, his brief catalog is a valuable witness. The gods named by Caesar are well-attested in the later epigraphic record of Gaul and Britain.
Unsyncretised theonyms are also widespread, particularly among goddesses such as Sulevia, Sirona, Rosmerta, and Epona. In all, several hundred names containing a Celtic element are attested in Gaul.
The majority occur only once, which has led some scholars to conclude that the Celtic gods and their cults were local and tribal rather than national. Supporters of this view cite Lucan's mention of a god called Teutates, which they interpret as "god of the tribe" it is thought that teuta- meant "tribe" in Celtic.
The multiplicity of deity names may also be explained otherwise — many, for example, may be simply epithets applied to major deities by widely extended cults. General Characteristics Evidence from the Roman period presents a wide array of gods and goddesses who are represented by images or inscribed dedications.
Certain deities were venerated widely across the Celtic world, while others were limited only to a single religion or even to a specific locality. Certain local or regional deities might have greater popularity within their spheres than supra-regional deities. For example, in east-central Gaul, the local Burgundian healing goddess Sequana was probably more influential in the minds of her local devotees than the Matres, who were worshipped all over Britain, Gaul and the Rhineland.
Supra-Regional Cults Among the divinities transcending tribal boundaries were the Matres, the sky-god and Epona, the horse-goddess, who was invoked by devotees living as far apart as Britain, Rome and Bulgaria. A distinctive feature of the mother-goddesses was their frequent depiction as a triad in many parts of Britain, in Gaul and on the Rhine, although it is possible to identify strong regional differences within this group.
The Celtic sky-god too had variations in the way he was perceived and his cult expressed. Local Cults It is sometimes possible to identify regional, tribal, or sub-tribal divinities. Specific to the Remi of northwest Gaul is a distinctive group of stone carvings depicting a triple-faced god with shared facial features and luxuriant beards.
In the Iron Age, this same tribe issued coins with three faces, a motif found elsewhere is Gaul. Another tribal god was Lenus, venerated by the Treveri. He was worshipped at a number of Treveran sanctuaries, the most splendid of which was at the tribal capital of Trier itself.
Yet he was also exported to other areas: Lenus has altars set up to him in Chedworth in Gloucestershire and Caerwent in Wales. Many Celtic divinities were extremely localised, sometimes occurring in just one shrine, perhaps because the spirit concerned was a genius loci, the governing spirit of a particular place.
In Gaul, over four hundred different Celtic god-names are recorded, of which at least occur just once. Sequana was confined to her spring shrine near Dijon, Sulis belonged to Bath.
The divine couple Ucuetis and Bergusia were worshipped solely at Alesia in Burgundy. The British god Nodens is associated above all with the great sanctuary at Lydney though he also appears at Cockersand Moss in Cumbria. There are many other gods whose names may betray origins as topographical spirits.
Notable Deity Types Antlered Gods A recurrent figure in Gaulish iconography is a cross-legged deity with antlers, sometimes surrounded by animals, often wearing or holding a torc.
Figured representations of this sort of deity, however, are widespread; the earliest known was found at Val Camonica in northern Italy, while the most famous is plate A of the Gundestrup Cauldron, a 1st-century-BC vessel found in Denmark. On the Gundestrup Cauldron and sometimes elsewhere, Cernunnos, or similar figure, is accompanied by a ram-headed serpent.
At Reims, the figure is depicted with a cornucopia overflowing with grains or coins.Get an answer for 'What are three ways Pygmalion differs from My Fair Lady?' and find homework help for other Pygmalion questions at eNotes.
The tone of "Pygmalion" is darker and more realistic than that of "My Fair Lady," which is a work of fantasy composed in a light and comedic style.
The opening of My Fair Lady prior to meeting Mr. Higgins is very true to Pygmalion. I’ve marveled since the 80’s that the infected weren’t quarantined. HIV is a serum infection making it somewhat difficult to transmit.
I was once in a situation where I was pestered repeatedly by a woman wanting donations to provide an hour long ‘AIDS awareness’ course in schools. Auto Suggestions are available once you type at least 3 letters.
Use up arrow (for mozilla firefox browser alt+up arrow) and down arrow (for mozilla firefox browser alt+down arrow) to review and enter to select. Before your reading; The title; Pygmalion: In Ovid's Metamophosis, Pygmalion is a sculptor who is not interested in women. Pygmalion, however, finds himself in love with his sculpture, Galatea, and he caresses her and offers her with all the gifts women like.
In retrospect, it seems quite obvious to have published Shaw's "Pygmalion" and Lerner and Loewe's "My Fair Lady" in one volume, but it took until , apparently, for it to happen.