Atë, ancient Greek for " ruin, folly, delusion ," is the action performed by the hero or heroine, usually because of his or her hubris, or great pride, that leads to his or her death or downfall.

Atë, Até or Aite ( or ; ) is the Greek goddess of mischief, delusion, and folly.

In the Greek tragedies Nemesis appears chiefly as the avenger of crime and the punisher of hubris, and as such is akin to Atë and the Erinyes.

Following the Senecan model of revenge tragedy, each of the play's five acts is preceded by a Prologue that features Atë, the ancient Greek goddess of folly and ruin.

* Atë, in Greek mythology, the personification of ruin, folly, and delusion

Hesiod's Theogony identifies her as the daughter of Eris (" strife "), and the sister of Ponos (" toil "), Limos (" starvation "), the Algea (" pains "), the Hysminai (" fightings "), the Makhai (" battles "), the Phonoi (" murders "), the Androktasiai (" man-slaughters "), the Neikea (" quarrels "), the Pseudologoi (" lies "), the Amphilogiai (" disputes "), Dysnomia (" lawlessness "), Atë (" ruin "), and Horkos (" oath ").

The Litae (" Prayers ") follow after her but Atë is fast and far outruns them.

In Hesiod's Theogony ( l. 230 ) the mother of Atë is Eris (" Strife "), with no father mentioned.

The Bibliotheca ( 3. 143 ) claims that when thrown down by Zeus, Atë landed on a peak in Phrygia called by her name.

In Nonnus ' Dionysiaca ( 11. 113 ), at Hera's instigation Atë persuades the boy Ampelus whom Dionysus passionately loves to impress Dionysus by riding on a bull from which Ampelus subsequently falls and breaks his neck.

In her book The March of Folly, Barbara Tuchman notes that the earth has been called The Meadow of Atë.

In anger Zeus threw Atë down to earth forever, forbidding that she ever return to heaven or to Mt.

Atë then wandered about, treading on the heads of men rather than on the earth, wreaking havoc on mortals.

In the play Julius Caesar, Shakespeare introduces the goddess Atë as an invocation of vengeance and menace.

Within this notion clarity is possible, but for us who are neither Greek nor Jansenist there is not such clarity.

The more Adoniram looked at the Greek word for baptism, the more unhappy he became over its true meaning.

Hegel's profound admiration for the insights of the Greek tragedians indicates a broad channel of classical influence upon nineteenth-century philosophy.

Greek boys and girls also go for rock-and-roll, and the stations most tuned to are those carrying United States overseas programs.

The word `` tragedy '' encloses for us in a single span both the Greek and the Elizabethan example.

Discoveries recently made of old Biblical manuscripts in Hebrew and Greek and other ancient writings, some by the early church fathers, in themselves called for a restudy of the Bible.

Except for the odd uptown sex maniac or an overeager Greek sailor, the people watch in calm absorption.

`` The great Greek tragedies are concerned with man against Fate, not man against man for the prize of a woman's body.

( Hymen, in fact, is the Greek word for membrane.

The Greek evidently fell for her, `` Monsieur X '' recounted, and to clinch what he thought was an affair in the making he gave her 100,000 francs ( about $300 ) and led her to the roulette tables.

Scientists assume that cholesterol ( from the Greek chole, meaning bile, and sterios, meaning solid ) is somehow necessary for the formation of brain cells, since it accounts for about 2% of the brain's total solid weight.

After Thomas Aquinas wrote his theology, working from Moerbeke's translations, the demand for Aristotle's writings grew and the Greek manuscripts returned to the West, stimulating a revival of Aristotelianism in Europe that continued into the Renaissance.

The genus Amoeba and amoeboids in general both derive their names from the ancient Greek word for change.

Apollo shot arrows infected with the plague into the Greek encampment during the Trojan War in retribution for Agamemnon's insult to Chryses, a priest of Apollo whose daughter Chryseis had been captured.

The earliest Greek word for a statue is " delight " ( άγαλμα: agalma ), and the sculptors tried to create forms which would inspire such guiding vision.

The muscular frames and limbs combined with slim waists indicate the Greek desire for health, and the physical capacity which was necessary in the hard Greek environment.

The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented.

The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances.

The Ancient Greek word for seaweed was φῦκος ( fūkos or phykos ), which could mean either the seaweed ( probably red algae ) or a red dye derived from it.

The Latin word came from Greek ἄβαξ abax " board strewn with sand or dust used for drawing geometric figures or calculating "( the exact shape of the Latin perhaps reflects the genitive form of the Greek word, ἄβακoς abakos ).

The earliest archaeological evidence for the use of the Greek abacus dates to the 5th century BC.

The Greek abacus was a table of wood or marble, pre-set with small counters in wood or metal for mathematical calculations.

The etymology of the name Ares is traditionally connected with the Greek word ἀρή ( arē ), the Ionic form of the Doric ἀρά ( ara ), " bane, ruin, curse, imprecation ".

Legend tells us that the long and arduous Trojan War, although nominally a Greek victory, brought anarchy, piracy, and ruin ; already before the Greek fleet set sail for Troy, the conflict had divided the gods as well, and this contributed to curses and acts of vengeance following many of the Greek heroes.

The small ruin of Knossos spanned and the palace had a maze-like quality that reminded Evans of the labyrinth described in Greek mythology.

The Palace of Fine Arts was designed by Bernard Maybeck, who took his inspiration from Roman and Greek architecture in designing what was essentially a fictional ruin from another time.

Camões gave his creation a history as one of the Gigantes of Greek mythology who had been spurned by Thetis, now appearing in the form of a threatening storm cloud to Vasco da Gama and threatening ruin to anyone hardy enough to pass the Cape and penetrate the Indian Ocean, which was Adamastor's domain.