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Arachnē (‘spider’), in Greek myth, a woman of Lydia who challenged the goddess Athena to a contest in weaving. She depicted in her web the amours of the gods, and Athena, angered at her presumption and choice of subject, tore the web to pieces and beat the weaver. Arachne in despair hanged herself, but Athena turned her into a spider.
In Greco-Roman mythology, Arachne (
/əˈrækniː/) was a great mortal weaver who boasted that her skill was greater than that of Athena, goddess of wisdom and strategy. Arachne refused to acknowledge that her knowledge came, in part at least, from the goddess. Offended by Arachne's arrogance, Athena set a contest between the two weavers. According to Ovid,[1] the goddess was so envious of the magnificent tapestry and the mortal weaver's success, and perhaps offended by the girl's choice of subjects (the loves and transgressions of the gods), that she destroyed the tapestry and loom and slashed the girl's face. “Not even Pallas nor blue-fevered Envy \ Could damn Arachne's work. \ The brown haired goddess Raged at the girl's success, struck through her loom, Tore down the scenes of wayward joys in heaven.″[2] Ultimately, the goddess turned Arachne into a spider. Arachne simply means "spider" (ἀράχνη) in Greek.
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From arachne are derived the taxonomical class name Arachnida, and the name for spiders in many romance languages.
The metamorphosis of Arachne in Ovid's telling furnished material for an episode in Edmund Spenser's mock-heroic Muiopotmos, 257-352.[3] Spenser's adaptation, which "rereads an Ovidian story in terms of the Elizabethan world"[4] is designed to provide a rationale for the hatred of Arachne's descendent Aragnoll for the butterfly-hero Clarion.
The tale of Arachne inspired one of Velázquez' most interesting paintings: Las Hilanderas ("The Spinners, or The fable of Arachne", in the Prado), in which the painter represents the two important moments of the myth. In the front, the contest of Arachne and the goddess (the young and the old weaver), in the back, an Abduction of Europa that is a copy of Titian's version (or maybe of Rubens' copy of Titian). In front of it appears Minerva in the moment she is punishing Arachne. It transforms the myth into a reflection about creation and imitation, god and man, master and pupil (and therefore about the nature of art).
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Chisholm, Hugh, ed. (1911). "Arachne". Encyclopædia Britannica (11th ed.). Cambridge University Press.
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