Centaur (mythology)

A centaur is a half-human and half-horse creature in Greek mythology. Their body is that of a horse, while the upper part of the body consisting of the heard, arms, and torso is that of a man. Centaurs lived on the coast of Thessaly, in a place called Magnesia. Another tribe of centaurs inhabited Peloponnesia. The centaurs were generally devotees of Dionysus, the god of wine and fertility. Their ways were excessive: drinking, eating flesh, and having a propensity toward violence and battles. With some exceptions, centaurs are mostly described in a disreputable way in mythical legends, given their behavior. At the same time, they achieved a sense of fame or notoriety for their outrageous ways and are popular within the context of Greek mythology. Moreover, fascination with the subject of centaurs has piqued the interest of artists and writers over the centuries.

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Brief History

As is the case with myths, there are different versions as to the historical origins of the centaur. Some say centaurs were the children of Ixion and Nephele. Ixion was the king of the Lapiths, while his wife Nephele was envisioned as a cloud, created in the image of Zeus's wife and sister, Hera. Others claim that centaurs were children born from the union of Centaurus, the son of the god Apollo, and the nymph Stilbe and Magnesian mares. Centaurus was not a beloved character of humans or gods, especially because of the centaurs' violent nature toward women and other humans. Their violation of women is most clearly referenced in the story of the rape of Deianeira, the wife of Heracles. Nesus, a centaur, had attempted to accost her, yet Deianeira reigned supreme when she managed to overcome the centaur, killing him.

Centaurs were born straight into adulthood, and may be perceived as genderless. Their entry into the world of fighting and battle began with a rigorous training that set them up to be fearless fighters. Various symbolic interpretations regarding the creation of these warring creations are prevalent, with particular reference to the sides of good and evil, the propensity to emotional change, and maintaining or losing rationality during war time.

Centaurs have been described in literature, though not always by name. For instance, Homer wrote about various creatures or monsters who bear a close resemblance to centaurs, although he never named them as such. The Greek poet, Pinder, described the centaur tribe in detail. Greek art presents the centaur primarily as unclothed, indicating their equine form from the waist down. In Greek drama, however, centaurs often wore the clothes of humans. This may have been due to the limitations imposed by costume designs and production. The centaur in more human form, specifically Chiron, was typical in Greek vase painting. Here Chiron is bedecked in full human clothing regalia. He is depicted as a man, with no horse-like features, and wears a chiton and boots. Instead, a horse body is attached as a separate part. In modern literature, centaurs have found their way into the realm of fantasy, science fiction tales, and magical stories. Centaur-type characters are present in Harry Potter and also in The Narnia Chronicles.

Overview

Centaurs. The characteristics of centaurs are centered on their wild nature. They are described as full of lust. This behavior was exacerbated when they drank alcohol, as they lost control during these occurrences and became unruly and violent.

Chiron. Chiron (also spelt Cheiron) or Kheiron was a wise centaur who pursued harmony. He is the exception to the rule. Chiron's modest character provided a significant contrast to the depiction of the roguish centaur. He was civilized and astute and used his gift of teaching for educational purposes. Some of his students were Achilles and Aesculapius, mythical characters of Ancient Greece. The medicinal skills of Chiron were renowned. Chiron lived his life in Thessaly, Greece, on Mount Pelion. Although theoretically Chiron could not meet his demise as he was immortal, he did suffer an unfortunate blow. Heracles accidentally pointed his arrow in the direction of Chiron, wounding him and causing excruciating pain as the arrow was tipped with the monster Hydra's blood. Chiron found the pain unbearable and grasped an opportunity to be allowed to die. He exploited the request made to Zeus by Heracles in his fight to have Prometheus freed, volunteering to die as the sacrificial token in place of Prometheus. Prometheus therefore walked free, and Chiron the immortal died.

Pholus. Pholus was another centaur, who, like Chiron, was friendly to humans. Pholus inhabited a cave in a mountain named for him, Mount Pholus, in Arcadia. The sweet wine that was uniquely his was a source of enticement for other centaurs. In an accident similar to that which hurt Chiron, Pholus died instantaneously when a poisoned arrow of Heracles fell on his hoof. Heracles, as a friend of Pholus, was the one to bury him.

Battle of the Centaurs. The centaurs regularly clashed with other tribes, especially when they were drunk. Their clashes with the Lapiths, particularly, were frequent. One of the most dramatic battles that they encountered with this tribe occurred at the time of the nuptial ceremony between Pirithous, king of the Lapiths, and Hippodameia.

Other Battles. The Peloponnesian Centaurs, or Kentauroi Peloponnesioi, were also a tribe of half-man and half-horse from Arcadia. Their predominant battle arose when they sought Pholos’s wine. Fighting Heracles in their pursuit of the wine, many of them were slain as a result. Those who survived fled to outlying peninsulas or were saved and protected by Poseidon.

Michelangelo's "Battle of the Centaurs". The "Battle of the Centaurs" has been portrayed most famously in art by Michelangelo in 1492. The artwork, made when Michelangelo was a teenager, is a marble sculpture inspired by the Greek myth of the battle between the centaurs and the Lapiths. The sculpture shows an entanglement of bodies, enmeshed in the tumult of the war taking place. The centaurs' half-man half-horse bodies are not immediately discerned until a closer look reveals their mythical form. Michelangelo's depiction of the battle appears to be vibrant with action albeit in a sculptural enclosed form.

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