Weird Taste In Mouh After Wisdom Removal

The Marriage in Greece: Have

At the time of their wedding, the groom most likely double in age to the bride and the two would be at very different stages their lives. Plato recommends imposing a fine on any man to remain unmarried after the age of thirty-five years ( Laws VI, 774 ) Girls in Classical Athens, would marry between fourteen and eighteen , and although the evidence in the literature seems to favor the younger age ( Demosthenes, Contra Áfobo III 43), Plato says that girls should be married between sixteen and twenty years ( Laws, VI, 785 )

The second day took place the ceremony of marriage itself, γ ά μος , word has not only the meaning of marriage but of union , and more specifically, the sexual union ( Bailly , A., Dictionnaire Grec-Français , voice γ ά μος , pág.387 ). This ceremony took place, the most cases, home of the father of the bride , but also be scheduled for the father of boyfriend or in the same boyfriend in certain situations. However, in the audience, as well as families, were friends of the couple, who serve as witnesses . Thus, we are shown, for example, the François glass, representing the wedding of Thetis and Peleus accompanied by many of the gods as witnesses. In Athens, in the fourth century BC, the number of people attending the ceremony was governed by the laws , just as banning a large influx of people in the funeral ceremonies. Thus, γυναικον ό μοι , took care to visit the houses in which there was a wedding to enforce this requirement . Plato also in Laws VI, 784 , provides that any person guilty of infidelity should not attend such ceremonies. It is impossible in this regard, whether this was so by tradition, to avoid a bad omen to the newlyweds, or because the perpetrators were banned from attending public events.

If we go by the vase painting depicting scenes wedding, the main form of were decorated with myrtle garlands and wreaths ( Oakley and Sinos, Wedding in Ancient Athens, 21 ) Some paintings show often garlands and fabric hanging from the doors and walls . House of boyfriend also was decorated wool, as was also the case of the birth of a girl ( Oakley and Sinos, Wedding in Ancient Athens , 34 ) The bridal chamber, θ ά λαμος , was decorated with fabrics of color saffron and could be used a canopy bed, called grasses ( Παστ ό ς). Pollux ( 3, 43 ) says er to frequent use of a second bed in the bridal chamber for that the new partner could sleep separately if necessary ( Oakley and Sinos, Wedding in Ancient Athens , 35 ) used to hire a νυμφοκ ό μος to dress and prepare the bride ( νυμφοστολε ῖ ν ) , which also would give advice and accompany him throughout the ceremony. The bride would be richly dressed, all the family could afford: a tunic ( στολ ή ) on which a mantle embroidered dress ( ἱ μ ά τιον ποικ ί λον ) and footwear would be special (ν ύ μφιδες )

ἐώ νητο δ ὲ ῇ τ κ ό ρ ῃ τ ὰ πρ ὸ ς τ ὸ ν γ ά μον· περιδ έ ραιον μ ὲ ν λ ί θων ποικ ί λων· ἐ σθ ῆ τα δ ὲ τ ὸ π ᾶ ν μ ὲ ν πορφυρ ᾶ ν, ἔ νθα δ ὲ τα ῖ ς ἄ λλαις ἐ σθ ῆ σιν ἡ χ ώ ρα τ ῆ ς πορφυρ ᾶ ς, ἐ κε ῖ χρυσ ὸ ς ν ἦ

S and had bought all the wedding decorations for girls: a necklace of precious stones and dress stained throughout purple and where in other dresses had a twisted of purple , here golden era ( Achilles Tatius, The Adventures of Leucippe and Clitophon , 11.2)

But

the most important element of the outfit was the veil that was covering his face and on which was placed a crown , στεφ ά νη , could be metal or plants or flowers, as myrtle, thyme, poppy, or even asparagus. Plutarch describes the crowns of the brides made Boeotian as asparagus and gives the following reason for its use:

ἐ κε ί νη τε γ ρ ὰ ἥ διστον ἐ κ τραχυτ ά της ἀ κ ά νθης καρπ ὸ ν ἀ ναδ ί δωσιν, ἥ τε ν ύ μφη τ ῷ μ ὴ φυγ ό ντι μηδ ὲ δυσχερ ά ναντι τ ὴ ν πρ ώ την Chalepas the quantity u IA hd ί if a computer t the As the Ms. Meron I glycerol if I Fri έ Stranger contracts ί they all may be

Pues aquella produce el fruto más grato de la planta más espinosa y la novia, al que no huye ni rechaza la primera dificultad y enojo to her, offer a peaceful cohabitation and sweet. ( Plutarch, Moralia 138 D)

The veil had great symbolic significance. was dyed in saffron , probably due to association with the menstrual cycle, since saffron is used to cure the ills menstrual ( Llewellyn-Jones, Lloyd, Aphrodite's Tortoise: The Veiled Woman of Ancient Greece , Swansea: The Classical Press of Wales , 220 ) Some scholars advocate the view that the veil was an extension of γυναικ ώ ν and served to separate women from men's field when they were in a public space. This interpretation is particularly interesting because it makes the wedding veil: Hidden behind the veil, the bride was protected within the limits of purely female space in an appropriate manner. The veil, also serve to highlight their sexual purity, modesty and nobility before the public, validate its role as a virtuous wife and protect in dangerous transit through its liminal status of the tutelage of his father that of her husband.

This veil is lifted, leaving the bride's face exposed, in a ceremony called _ ἀ νακαλυπτ ή ριον _ at the right time. Time that some scholars place after the banquet and others after the procession to the groom's house.

Another important element of the outfit, and also very symbolic, was the ζ ώ νη , belt: potent symbol of femininity that often referred to in the literature to mean the consummation of marriage to say that the groom has loosened ζ ώ νη of the bride.

The bride, then plays two functions in the γ ά μος , of young fertile and the a simple object. Your sexuality highlights through its ornament and alludes to the next consummation of marriage .

The groom, meanwhile, dress himation a white, crowned with a garland would sesame or any other plant that symbolizes fertility and perfumery with myrrh ( Oakley and Sinos, Wedding in Ancient Athens , 16 )

ῦ ν ν δ ' ὑ μενα ί ων γ ό ος ἀ ντ ί παλος λευκ ῶ ν GF p έ is spreading with έ LANE stolmo I p έ BUSH ί m ' via e l έ ktron Mr. ί Tas e As e r ή mousse

Pero ahora, el lamento que sirve de contrapeso a los cantos nupciales, y los negros vestidos, que reemplazan a los blancos peplos, lead me to a bed and not to desert the thalami ( Euripides, Alcestis 920)

Before the banquet, was held a sacrifice (which some scholars, as we saw in the previous article , identified with προτ έ λεια ) aimed at protecting gods of marriage : Teleios Zeus, Hera Teleia , Aphrodite , Peitho and Artemis , for which should enhance the fertility of the union.

The wedding banquet ( θο ί νη γαμικ ή ) , which Charo speaks extensively this week took place normally, as mentioned above, home of the father of the bride. There was a charge (τραπεζοποι ό ς ) who worried that everything was ready and gave the necessary orders for the banquet to be normal. In a fragment of an Attic comedy , Anakalyptoméne Evangelos, a character gives orders for a wedding : the banquet must be rich and not miss anything, we want the wedding to be brilliant. One of the women of the house , adopting the role of demiurge , it should monitor preparations for the sacrifice, prepare a traditional dish to offer guests: cakes Sesame ( πλακο ῦ ς γαμικ ό ς) fertility symbol. tables are arranged according to a prescribed order . In the passage of Evangelos Anakalyptoméne has been cited mention is made of four tables for women and another six are reserved for men. Although it seems that men and women ate separately, at least that is what is inferred from the following passage from Iphigenia at Aulis Clytemnestra when her husband asked :

ἡ με ς δ ῖ ὲ θο ί νην πο ῦ γυναιξ ὶ θ ή σομεν;

And women, where we have our banquet? ( Euripides, Iphigenia at Aulis , 723-724 )

When the guests had taken place, the νυμφε ύ τρια introduced in the room banquet at the young woman, her face covered with the veil, and sat among women, where it appears that the couple remained separated, each sitting in his family . Among the guests walked a child ( ἀ μφιθαλ Ὴ ς πα ῖ ς: child who grows up surrounded by his father and his mother ) bearing acorns and oak branches and a basket with bread, which offered the audience and reciting : I fled from the bad, I found the best . According Reeder, Ellen (" Women and Men in Classical Greece" In Pandora: Women in Classical Greece ) this sentence, linked to the ceremony of marriage, suggests that passage of the condition maiden to married , reflecting another transition: from an agricultural society to a non agricultural, that is, to civilization.

banquet at the end of the ceremony took place ἀ νακαλυπτ ή ριον . time when the young bride, who had attended his own banquet with his face covered by a veil, was discovered for the first time in the presence of men . We have already noted above some disagreement as to when carrying out this ceremony, but according M. Caillemer and M. Deubner, must have been after dinner and before the formation of the procession that was to accompany the bride to the husband's home. This act meant that the marriage was official and was consecrated . It was the moment when the groom offered their gifts to the bride , the ἀ νακαλυπτ ή ρια δ ῶ ρα . then be singing wedding songs and hymns, invoking Hymen , and would accompany the couple on the way to its new home along night. These hymns should be easily recognizable by all :

ὐ α τ ρ θε ὰ ῖ ος ἀ οιδ ὸ ς ἔ χων φ ό ρμιγγα λ ί γειαν ἡ μιν ἡ γε ί σθω φιλοπα ί γμονος ὀ ρχηθμο ῖ ο, ὥ ς κ έ ν τις φα ί η γ ά μον ἔ μμεναι ἐ κτ ὸ ς ἀ κο ύ ων, ἢ ἀ ν' ὁ δ ὸ ν στε ί χων, ἢ ο ἳ περιναιετ · Ουσι ά

and then follow the sacred bard, taking the sitar sound, will guide us in the joyful dance, so that, on hearing from outside a passerby or neighbor, think they are the what we celebrate nuptials ( Homer The Odyssey XXIII 133-136)

Unfortunately , scholars modern have great difficulty to reconstruct the words and sounds of Hymen. Rebecca H. Hague, "Ancient Greek Wedding Songs: The Tradition of Praise ', Journal of Folklore Research 20 (1983): 132 , says that the song Wedding is sang all the ritual and reflected different stages of the ceremony adopting different variations. All songs were similar and used to compare the couple with a divine or idea . For example , often the beauty of the bride is compared with that of Helena or Aphrodite and the value Groom with that of Achilles or Ares. Participants at the wedding also often compared with plants and fruits , such as a cypress or a apple. This would a comparison fit to invoke fertility . Although not identifiable the lyrics of songs wedding, many of the works existing of authors old seem to imitate in a . We have, for example, with many fragments of poetry of Sappho that seem based in such songs :

ίῳ Τ σ 'φ ὦ ί λε γ ά μβρε, κ ά λως ἐ ϊκ ά σδω; / ὄ ρπακι βραδ ί ῳ ν σε κ ά λιστ ' ἐ ϊκ ά σδω.

¿Con qué podré compararte, esposo? / Con un esbelto y tierno junco ( Safo, fragmento 117 )

I psoi d the t the Melathron a errete, techtones Ah Men, / - Y month - / bridegroom (c a thalamois r) e I dients I sauce Arefi; / (the Y Man I satheos,) large (d) ἀ νδρός πολύ μείζων / (- ὐ μήναον -)

Highest lift the roof carpenters. / Oh Hymen! / For the bride entering the thalamus is similar Ares. / No equal to God, but much larger than any man. / Oh Hymen! (Sappho, fragment 110 )

the lvie bridegroom, anyone with e n d the marriage, Oh As FIPA / e chtetilest ', I chis by virgin T a Nara T

Oh lucky husband: the marriage that took place deseabas. / You and the girl of your desires (Sappho, fragment 106 )

χαίρε (.) Νόμφα , τίμιε γαμβρέ, πολλά

Congratulations. . . girlfriend! Congratulations, noble boyfriend! (Sappho, fragment , 107 )

So, with songs of praise , the party gave way the following ritual of marriage , the procession of the wedding.