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Gustav Holst was a great composer, a great teacher, and a great friend. These are really only different aspects of the same thing—his pupils were his friends, his friends were always learning from him, his music made friends for him all over the world, even among those who had never seen him, and will continue to make more friends for him in the years to come. Holst never fumbles; he says what he means without circumlocution; he is not afraid of a downright tune such as both the tunes in “Jupiter.” On the other hand, where the depth of the thought requires recondite harmony, he does not flinch. The strange chords in “Neptune” make “moderns” sound like milk and water. These chords never seem “wrong,” nor are they incongruous; the same mind is evident in the remote aloofness of Egdon Heath and the homely tunes of the St Paul's Suite.

Gustav Holst was a great composer, a great teacher, and a great friend. These are really different aspects of the same fact. It was his intense human sympathy that fostered his musical invention. In one of his lectures he speaks of the almost mystical unity that must necessarily exist between master and pupil, between friend and friend. Art and craft are travellers alongside each other. In England one does not always realise this. It is this very sureness of purpose which makes his music distasteful to some of the less bold hearted of his critics, who seem to think that the tunes from “Jupiter” and St. Paul's Suite are little less than an insult to the intelligence of the intelligentsia. However, Holst gets his own back in “Neptune” and Egdon Heath, with harmonies compared with which the wildest efforts of our young “moderns” are so much milk and water.

This chapter focuses on Juno's harassment of Jupiter's sexual objects in Met. 1–4. This steadily escalating series of reprisals against the goddess' rivals culminates at Thebes when Juno tricks Semele into flaming death at Jupiter's hands. In contrast to the Aeneid, where Vergil's Juno embodies pure ruthless vengeance opposed to (Roman) order and civilization, the chapter uses Freud's concept of melancholia (excessive grief over loss) to articulate an ethical dimension to the Ovidian Juno's wrath. Ovid's goddess remains unshakeably loyal to a ‘lost’ object, a fidelity logically corollary to her identity as the goddess of marriage. But she grieves over an object never actually possessed, exemplifying the kind phantasmatic loss that structures all subjectivity, human or divine. Juno's viciousness is shown to be, not an aberration, but stultifyingly intimate with the loftiest ideals articulated for lovers and citizens both.

This chapter addresses the extremal latitudes of the planets, the maximum elongation of the inner planets, and the planetary periods. The Moon is said to move a greater distance than do the other planets toward each [side] of the circle through the middle of the zodiacal constellations; next in order is Venus, which goes five degrees to each [side] in its chosen motion, then Mercury (up to four degrees), Mars and Jupiter (up to two-and-a-half degrees), [and] Saturn (up to one degree on each side). Mercury effects [superior] conjunction with the Sun in 116 days when the latter comes in between it [and the Earth]; Venus resumes the same position in relation to the Sun in 584 days, Mars in 780 days, Jupiter in 398, Saturn in 378.

This chapter reviews the phenomena Newton cites. It introduces Römer’s measurement of a finite speed of light obtained from eclipses of one of Jupiter’s moons. It reviews Newton’s Phenomenon 1 and the data he cites in support of the area rule and harmonic rule for Jupiter’s moons. It introduces Newton’s phenomenon 2 and the data he cites in support of the area and harmonic rules for satellites of Saturn. It reviews Newton’s phenomenon 3, that the orbits of the planets encompass the sun, his phenomenon 4, Kepler’s harmonic rule for the planets, and his phenomenon 5, Kepler’s area rule for the planets. Appendix 1 gives details of Römer’s calculation. Appendix 2 gives a more detailed assessment of the satellite data cited by Newton. Appendix 3 gives details of Kepler’s determinations of periods and mean distances, as well as Kepler’s equation for area rule motion in his elliptical orbits.

This chapter examines the effect of winds on Jupiter's weather. The Great Red Spot is an atmospheric structure—a storm—that is free to move about under the laws of fluid dynamics. On Earth, these laws lead to turbulence, chaos, and limited predictability. By comparison, the Red Spot is well behaved. It stays in one latitude band, rolling like a ball bearing between two conveyor belts—a westward current to the north and an eastward current to the south. All the large-scale features are remarkably constant. Atmospheric scientists during the Voyager encounter were surprised by the areas outside the Red Spot and the three white ovals—formerly featureless areas that had become turbulent convective regions. The chapter first provides an overview of long-range weather forecasting on Jupiter before discussing the dynamics of rotating fluids, momentum transfer by eddies, stability of zonal jets, geostrophic balance, vorticity, and abyssal weather.

This chapter compares the climate of Saturn with that of Jupiter. Both Jupiter and Saturn have no oceans and no solid surfaces, but they have lightning storms and rain clouds that dwarf the largest thunderstorms on Earth. Saturn's weather is normally very calm, but every 20–30 years a giant storm erupts. These storms last for a few months and then disappear. In contrast, Jupiter's giant storms endure without change for decades or centuries. Saturn's winds are stronger than Jupiter's. The chapter first reviews the variables that might control the planets' climates before discussing how the climates actually differ. It examines Saturn's rotation, giant storms, effective radiating temperature, electrostatic discharges and lightning, enrichment relative to solar composition, helium raindrops, moist convection and conditional instability, and ortho-para instability.

This chapter examines John Heywood’s comic interlude, The Play of the Wether, in the light of the events of 1532-3. It shows how the mischievous representation of Jupiter, king of the gods, plays mockingly with ideas and rhetorical modes associated with Henry VIII’s royal supremacy, and dangerously addresses political themes such as Henry’s clandestine marriage to Anne Boleyn in an attempt to mock the king’s pretensions and win him back to wisdom and moderation. It suggests that the play marks both the most extreme example and one of the last workable instances of the use of a literary form as a piece of harsh ‘good counsel’ performed before the king in an attempt to shame him back to virtue.

This chapter examines the significance of Jupiter's prophecy, demonstrating its importance for Valerius' poetics of rehabilitation. Jupiter's proclamation of the Fates, which engages directly with Lucan, announces the inauguration of a new world order characterized by refoundation in the wake of political collapse. The ideology discernible in Jupiter's declaration of the new imperial dispensation finds a thematic counterpart in Valerius' depiction of Vespasian's regime. The establishment of the Flavian dynasty, like the establishment of Jupiter's cosmic regime, is marked by an impulse to expand outward into new realms, a theme that reroutes epic away from the collapsing world of Lucan's Bellum Civile. Lucan depicts a dying world in which there is no hope for the future; Valerius depicts the birth of a new world, one that not only offers hope for the future, but that also has an ameliorative impact on the accomplishment of heroic deeds and the epic poetry that heralds them.

This chapter examines Jupiter's climate and what it reveals about the solar system. During its first 105 years, the solar system was a melting pot in which material from stars with different chemical compositions was blended together. The high temperatures resulting from the release of enormous amounts of gravitational potential energy aided the melting process. Aside from being the largest planet, Jupiter is also the one whose composition most resembles that of the Sun. The chapter begins with a discussion of solar composition, focusing on the abundances of elements in Jupiter's atmosphere compared with those on the Sun. It then considers the origin and evolution of Jupiter and the solar system more generally, along with the vertical structure of clouds and temperature. It also explains the presence of lightning in Jupiter's atmosphere, the Great Red Spot, enrichment relative to solar composition, horizontal temperature structure, and hot air ballooning.

The chapter analyzes the third act of Shelley’s play, “Prometheus Unbound,” and follows the sequence of events from the fall of Jupiter to the release of Prometheus and his union with Asia. In this act, the tyrannical “Father” is overthrown indirectly through Prometheus and his foreknowledge, in union with the feminine—Mother Earth and his lover. Jupiter is replaced by his son Demogorgon, who is seen as a creative and unifying force, instead of destructive and oppressive. The influence of William Godwin’s philosophies are present in the play, which mirrors Shelley’s vision of an ideal society free from the power of tyrannical institutions and thus enabling its inhabitants to become reformed as well. Through his work, Shelley had intended to support and possibly effect this reformation. The act’s conclusion in the Spirit of the Hour’s speech expands Shelley’s vision for mankind to include a renewal of the cosmos as well.

Despite the controversies brought up in England, Lusieri remained employed under Lord Elgin. After he arrived in Malta on the Hydra with Nicolo Giraud, Byron, and the second collection of Elgin marbles in 1811, he spent months attempting to recondition the cases used for storing the marbles and discussing obtaining new credits with Elgin's bankers. While Lusieri was in Athens, a new discovery which was achieved by Charles Robert Cockerell involved examinations of all the possible ancient buildings that could be located. Cockerell and his party discovered the Aegina marbles at the Temple of Jupiter Panhellenius which can be dated before the Parthenon, between the archaic and the classical periods. This chapter looks into what happened to these Aegina marbles and to the other discoveries of Cockerell.

Hermes Pan continues at M-G-M with Kiss Me Kate in which he permits Bob Fosse to choreograph a portion of “From This Moment On.” He continues turning out musicals—The Student Prince, Jupiter’s Darling, in which he designed an underwater ballet for Esther Williams, Hit the Deck, and Meet Me in Las Vegas for which he created the spectacular “Frankie and Johnny” ballet for Cyd Charisse and John Braccia. He assisted Fred Astaire with the choreography for “Clap Yo’ Hands” in Funny Face before moving on to Silk Stockings with Astaire and Charisse and Pal Joey at Columbia Pictures with Frank Sinatra, Kim Novak, and Rita Hayworth. Pan choreographs Un Paio d’Ali (A Pair of Wings) in Milan and falls in love with dancer Gino Malerba.

This chapter considers James Cameron's two sea documentaries — Ghosts of the Abyss (2003) and Aliens of the Deep (2005) — which provide ‘real world’ repercussions to his fantasy dramas. In the post-Titanic years to date, Cameron has devoted much of his energy to deep-sea exploration. Ghosts of the Abyss chronicles the exploration of the Titanic wreckage using two newly created small cameras that can enter the centre of the wreck. Aliens of the Deep begins by exploring the world of deep sea life that does not require sunlight, but which instead is ‘fuelled’ by the heat that vents from the ocean bed. The film then extrapolates the world observed in deep sea in order to speculate on the life that may exist beneath the icy surface of Europa, one of Jupiter's moons.

This chapter tours the Western Chinese City. It begins by walking south of the Zheng Yang Gate towards the commercial and entertainment district of Old Peking called the Great Bamboo Fence. The House of the Six Obligations, located near the intersection of Big Bamboo Street and Grain and Rice Street, started its existence as a shop set up in 1530 by six merchants from Shan Xi province. Around the Vegetable Market are a number of historic sites. There is a Chinese Muslim legend that shows how Chinese culture absorbed Islam. The Peking Museum of Traditional Architecture is housed in the Hall of Jupiter, which was first constructed in 1532 and renovated in 1754. By ascending the marble terrace, one may first past through the Hall of Propriety and enter into a vast enclosed courtyard similar to those in the Forbidden City. To the north is the Hall of Jupiter, now housing exhibits on traditional Chinese construction techniques.

The year 1604 was of great astrological import for the prognosticators. It was supposed to mark the return of Saturn and Jupiter in conjunction with the Fiery Trigon (at 8 degrees in the sign of Sagittarius) after eight centuries. It was also the year that Mars, the third superior planet, was expected to join the other two in Sagittarius on September 29. A rush of publications ensued, including Johannes Kepler's Report (Bericht). In 1602, the 1572 nova was effectively transformed into a new kind of event when Tycho Brahe's son-in-law, Franz Tengnagel, pushed through publication of the Progymnasmata. In Italy, the nova's appearance led quickly to an outbreak of local controversy, with universities at the center of contention. In early December 1604, Galileo's lectures at the university in Padua became the occasion for a series of exchanges. In March 1607, Baldassare Capra published a work in Latin with an uncanny resemblance to Galileo's that promised to show not only how to operate but also how to build the compass.

This chapter explores the historical development of Rome's religion. If the oldest order of gods was adapted to the interests and needs of a small urban community living in the closest proximity, subsequent religious development was determined by Rome's expansion beyond its own territory and through its gradual absorption of neighboring communities and tribes. The changed political relations are clearly manifested in the area of religion. The old triad of gods – Jupiter, Mars and Quirinus – recedes and survives only in the prayer formulae that derived from an older time. In its place came a new group of divinities – Jupiter, Juno, and Minerva – which took its place on the crowning heights of the city. The foundation of this temple, which means the beginning of a new era in more than one respect, is attributed by the ancients unanimously to the Tarquins.