In Greek mythology, Oenopion was a legendary king of Chios, was said to have brought winemaking to the island, assigned to him by Rhadamanthys. Oenopion was the son of the Cretan princess Ariadne by Dionysus, he was born on Lemnos. By Queen Helike, Oenopion had one daughter, called either Merópē, or Aërō by Parthenius, he had several sons, namely Melas, Maron, Euanthes and Athamas, who all sailed with him to Chios from Crete. The most well known story of Oenopion is the one that deals with him receiving the famous giant hunter Orion as a guest, with Orion's subsequent attempt to violate his daughter; the story differs somewhat in different ancient sources. For the details, see Orion. Orion walked to Chios over the Aegean, Oenopion welcomed him with a banquet. In revenge, Oenopion stabbed out Orion's eyes, threw him off the island. Hephaestus gave him his servant Cedalion as a guide. Cedalion guided him east. Orion decided to kill Oenopion, but the Chians had built the king an underground fortress, Orion couldn't find him.
Orion went to Crete. Diodorus Siculus, The Library of History translated by Charles Henry Oldfather. Twelve volumes. Loeb Classical Library. Cambridge, Massachusetts: Harvard University Press. Vol. 3. Books 4.59–8. Online version at Bill Thayer's Web Site Diodorus Siculus, Bibliotheca Historica. Vol 1-2. Immanel Bekker. Ludwig Dindorf. Friedrich Vogel. in aedibus B. G. Teubneri. Leipzig. 1888-1890. Greek text available at the Perseus Digital Library. Gaius Julius Hyginus, Astronomica from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project. Lucius Mestrius Plutarchus, Lives with an English Translation by Bernadotte Perrin. Cambridge, MA. Harvard University Press. London. William Heinemann Ltd. 1914. 1. Online version at the Perseus Digital Library. Greek text available from the same website. Pausanias, Description of Greece with an English Translation by W. H. S. Jones, Litt. D. and H. A. Ormerod, M. A. in 4 Volumes.
Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library. Pseudo-Apollodorus, The Library with an English Translation by Sir James George Frazer, F. B. A. F. R. S. in 2 Volumes, Cambridge, MA, Harvard University Press. ISBN 0-674-99135-4. Online version at the Perseus Digital Library. Greek text available from the same website
Friedrich Gottlieb Welcker
Friedrich Gottlieb Welcker was a German classical philologist and archaeologist. Welcker was born at Hesse-Darmstadt. Having studied classical philology at the University of Giessen, in 1803 he was appointed master in the high school, an office which he combined with that of lecturer at the university. In 1806 he journeyed to Italy, was for more than a year private tutor at Rome in the family of Wilhelm von Humboldt, who became his friend and correspondent. Welcker returned to Giessen in 1808, resuming his school-teaching and university lectures was in the following year appointed the first professor of Greek literature and archaeology at that or any German university. After serving as a volunteer in the campaign of 1814 he went to Copenhagen to edit the posthumous papers of the Danish archaeologist Georg Zoega, published his biography, Zoegas Leben, his liberalism in politics having brought him into conflict with the university authorities of Giessen, he exchanged that university for Göttingen in 1816, three years received a chair at the new University of Bonn, where he established the art museum and the library, of which he became the first librarian.
In 1841–1843 he travelled in Greece and Italy, retired from the librarianship in 1854, in 1861 from his professorship, but continued to reside at Bonn until his death. Welcker was a pioneer in the field of archaeology, was one of the first to insist, like Böckh and his pupil Karl Otfried Müller, on the necessity of co-ordinating the study of Greek art and religion with philology, in opposition to the methods of the older Hellenists, like Gottfried Hermann, which they perceived as too narrow; the workers took as their aim the complete reconstruction of the ancient life, in contrast with members of the school of Hermann, who were disposed to limit the field to the language and text of the Greek and Roman writers. Welcker was imbued with the harmony of the whole Greek conception, whether expressed in art, literature, or religion, it was to the presentation of this as a complete whole that he devoted his efforts. Besides early work on Aristophanes and Sappho, whose character he vindicated, he edited Alcman, Hipponax and the Theogony of Hesiod, published a Sylloge epigrammatum Graecorum.
His Griechische Götterlehre may be regarded as the first scientific treatise on Greek religion. Among his works on Greek literature the chief are Die Äschyleische Trilogie, Der epische Zyklus oder die Homerischen Geschichte, Die griechischen Tragödien mit Rücksicht auf den epischen Zyklus geordnet, his editions and biography of Zoega, his Zeitschrift für Geschichte und Auslegung der alten Kunst and his Alte Denkmäler contain his views on ancient art. This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Welcker, Friedrich Gottlieb". Encyclopædia Britannica. Cambridge University Press; this work in turn cites: Kekulé, Das Leben Friedrich Gottlieb Welckers R. Haym, ed. Wilhelm von Humboldts Briefe an Welcker J. E. Sandys, History of Classical Scholarship, vol. iii. pp. 216–7 This article incorporates text from a publication now in the public domain: Gilman, D. C.. "Welcker, Friedrich Gottlieb". New International Encyclopedia. New York: Dodd, Mead
In Greek mythology, the Cabeiri or Cabiri transliterated Kabiri, were a group of enigmatic chthonic deities. They were worshiped in a mystery cult associated with that of Hephaestus, centered in the north Aegean islands of Lemnos and Samothrace—at the Samothrace temple complex—and at Thebes. In their distant origins the Cabeiri and the Samothracian gods may include pre-Greek elements, or other non-Greek elements, such as Thracian, Pelasgian, Phrygian or Hittite; the Lemnian cult was always local to Lemnos, but the Samothracian mystery cult spread throughout the Greek world during the Hellenistic period initiating Romans. The ancient sources disagree about, but the two islands are close to each other, at the northern end of the Aegean, the cults are at least similar, neither fits into the Olympic pantheon: the Cabeiri were given a mythic genealogy as sons of Hephaestus and Cabeiro. The accounts of the Samothracian gods, whose names were secret, differ in the number and sexes of the gods: between two and four, some of either sex.
The number of Cabeiri varies, with some accounts citing four, some more, such as a tribe or whole race of Cabeiri presented as all male. The Cabeiri were worshipped at other sites in the vicinity, including Seuthopolis in Thrace and various sites in Asia Minor. According to Strabo, Cabeiri are most honored in Imbros and Lemnos but in other cities too; the Cabeiri were originally Phrygian deities and protectors of sailors, who were imported into Greek ritual. R. S. P. Beekes believes that their name is of pre-Greek origin. In the past, the Semitic word kabir has been compared to Κάβειροι since at least Joseph Justus Scaliger in the sixteenth century, but nothing else seemed to point to a Semitic origin, until the idea of "great" gods expressed by the Semitic root kbr was definitively attested for North Syria in the thirteenth century BCE, in texts from Emar published by D. Arnaud in 1985–87. Friedrich Wilhelm Schelling connected the Greek word to the Hebrew חבר and via this to several priest names as one attached to the Persians, linking them to the Dioskouri or priestly blacksmiths alternatively.
T. J. Wackernagel produced an Indian etymology in 1907. Dossein compares Κάβειροι to the Sumerian word kabar, "copper."The name of the Cabeiri recalls Mount Kabeiros, a mountain in the region of Berekyntia in Asia Minor associated with the Phrygian Mother Goddess. The name of Kadmilus, or Kasmilos, one of the Cabeiri, depicted as a young boy, was linked in antiquity to Camillus, an old Latin word for a boy-attendant in a cult a loan from the Etruscan language, which may be related to Lemnian. However, according to Beekes, the name Kadmilus may be of pre-Greek origin, as seems to be the case with the name Cadmus, they were most depicted as two people: an old man and his son, Cadmilus. Due to the cult's secrecy, their exact nature and relationship with other ancient Greek and Thracian religious figures remained mysterious; as a result, the membership and roles of the Cabeiri changed over time, with common variants including a female pair and twin youths. The Lemnians were non-Greek. In Lemnos the cult of the Cabeiri survived, according to archaeological evidence, through the conquest: an ancient sanctuary dedicated to the Cabeiri is identifiable by traces of inscriptions, seems to have survived the process of Hellenization.
Walter Burkert records that wine jars are "the only characteristic group of finds" from the Cabeirium of Lemnos and that the Cabeirium was the location for initiation into an ancient mystery cult. However, due to the secret nature of mystery cults in the ancient world little survives to indicate what was involved in these initiation ceremonies; the geographer Strabo reported that in Lemnos, the mother of the Cabeiri was Kabeiro herself, a daughter of Nereus and a goddess whom the Greeks might have called Rhea. In general Greek myth identifies the Cabeiri as divine craftsmen, sons or grandsons of Hephaestus, chiefly worshipped on Lemnos. Aeschylus wrote a tragedy called The Kabeiroi, which featured the deities as a chorus greeting the Argonauts at Lemnos and the Argonauts' initiation into the cult of the Cabeiri; the Samothracians were originally non-Greek, are associated with the Trojans and the Pelasgians. Samothrace offered an initiatory mystery, which promised prosperity to seamen; the secret of these mysteries has been kept.
The mysteries of Samothrace did not publish the names of their gods.
Eustathius of Thessalonica
Eustathius of Thessalonica was a Byzantine Greek scholar and Archbishop of Thessalonica. He is most noted for his contemporary account of the sack of Thessalonica by the Normans in 1185, for his orations and for his commentaries on Homer, which incorporate many remarks by much earlier researchers, he was canonized on June 10, 1988, his feast day is on September 20. A pupil of Nicholas Kataphloron, Eustathius was appointed to the offices of superintendent of petitions, professor of rhetoric, was ordained a deacon in Constantinople, he was ordained bishop of Myra. Around the year 1178, he was appointed to the archbishopric of Thessalonica, where he remained until his death around 1195/1196. Accounts of his life and work are given in the funeral orations by Michael Choniates. Niketas Choniates praised him as the most learned man of his age, a judgment, difficult to dispute, he wrote commentaries on ancient Greek poets, theological treatises, letters, an important account of the sack of Thessalonica by William II of Sicily in 1185.
Of his works, his commentaries on Homer are the most referred to: they display an extensive knowledge of Greek literature from the earliest to the latest times. Other works exhibit impressive character, oratorical power, which earned him the esteem of the Komnenoi emperors. Politically, Eustathios was a supporter of emperor Manuel I. An original thinker, Eustathios sometimes praised such secular values as military prowess, he decried slavery, believed in the concept of historical progress of civilization from a primitive to a more advanced state. His most important works are the following: On the Capture of Thessalonica, an eye-witness account of the siege of 1185 and subsequent sufferings of the people of Thessalonica. In early sections of this memoir Eustathios describes political events at Constantinople from the death of emperor Manuel I through the short reign of Alexios II to the usurpation of Andronikos I, with sharp comments on the activities of all involved; the Greek text was edited with an Italian translation by V. Rotolo.
A number of orations, some of which have been edited by P. Wirth. In 2013 a translation of six of the earliest of these speeches was published with a commentary by Andrew F. Stone. Commentaries on Homer's Odyssey; these address questions of grammar, mythology and geography. They are not so much original commentaries as extracts from earlier commentators - there are many correspondences with Homeric scholia. Drawing on numerous extensive works of Alexandrian grammarians and critics and commentators, they are a important contribution to Homeric scholarship, not least because some of the works from which Eustathios made extracts are lost. Although it is that Eustathios quotes some authors second-hand, he seems acquainted with the works of the greatest ancient critics - Aristarchos of Samothrace, Aristophanes of Byzantium, others; this is a great tribute to the state of the libraries of Constantinople and of classical scholarship there in the 12th century. He was an avid reader of the Deipnosophistae of Athenaeus.
Some of the etymological and grammatical comments by Eustathios's Alexandrian predecessors are full of errors. The first printed edition, by Majoranus, was published in Rome in 1542-1550, an inaccurate reprint being published in Basel in 1559-1560. A. Potitus' edition, contains only the commentary on the first five books of the Iliad with a Latin translation. A tolerably correct reprint of the Roman edition was published at Leipzig, the first part containing the Odyssey commentary, 1825-1826, the second, containing the Iliad commentary, edited by J. G. Stallbaum for the Patrologia Graeca, 1827-1829; these were superseded by the edition of 1971 onwards. Extracts from the commentaries are quoted in many editions of the Homeric poems. A commentary on Dionysius Periegetes; this is as diffuse as the commentary on Homer, but includes numerous valuable extracts from earlier writers. A commentary on Pindar. No manuscript of this has come to light. (The introduction was first published by Gottlieb Tafel in his Eustathii Thessalonicensis Opuscula, from which it was reprinted separately by Schneidewin, Eustathii prooemium commentariorum Pindaricorum.
Other published works. Some were first published by Tafel in the 1832 Opuscula just mentioned, some appeared as by P. Wirth for the Corpus Fontium Historiae Byzantinae series. Unpublished works; these include commemorative speeches. Several of the latter are important historical sources. Angold, Michael. Church and society in Byzantium under the Comneni, 1081–1261. Cambridge University Pre
Sophocles is one of three ancient Greek tragedians whose plays have survived. His first plays were written than or contemporary with those of Aeschylus, earlier than or contemporary with those of Euripides. Sophocles wrote over 120 plays during the course of his life, but only seven have survived in a complete form: Ajax, Women of Trachis, Oedipus Rex, Electra and Oedipus at Colonus. For 50 years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia, he competed in 30 competitions, won 24, was never judged lower than second place. Aeschylus won 13 competitions, was sometimes defeated by Sophocles, while Euripides won four competitions; the most famous tragedies of Sophocles feature Oedipus and Antigone: they are known as the Theban plays, although each play was a part of a different tetralogy, the other members of which are now lost. Sophocles influenced the development of drama, most by adding a third actor, thereby reducing the importance of the chorus in the presentation of the plot.
He developed his characters to a greater extent than earlier playwrights such as Aeschylus. Sophocles, the son of Sophilus, was a wealthy member of the rural deme of Hippeios Colonus in Attica, to become a setting for one of his plays, he was born there. Sophocles was born a few years before the Battle of Marathon in 490 BC: the exact year is unclear, although 497/6 is the most likely. Sophocles was born into a wealthy family and was educated. Sophocles' first artistic triumph was in 468 BC, when he took first prize in the Dionysia theatre competition over the reigning master of Athenian drama, Aeschylus. According to Plutarch, the victory came under unusual circumstances. Instead of following the usual custom of choosing judges by lot, the archon asked Cimon and the other strategoi present to decide the victor of the contest. Plutarch further contends that following this loss Aeschylus soon left for Sicily. Although Plutarch says that this was Sophocles' first production, it is now thought that his first production was in 470 BC.
Triptolemus was one of the plays that Sophocles presented at this festival. In 480 BC Sophocles was chosen to lead the paean, celebrating the Greek victory over the Persians at the Battle of Salamis. Early in his career, the politician Cimon might have been one of his patrons, although if he was, there was no ill will borne by Pericles, Cimon's rival, when Cimon was ostracized in 461 BC. In 443/2 he served as one of the Hellenotamiai, or treasurers of Athena, helping to manage the finances of the city during the political ascendancy of Pericles. According to the Vita Sophoclis, in 441 BC he was elected one of the ten generals, executive officials at Athens, as a junior colleague of Pericles, he served in the Athenian campaign against Samos. In 420 BC, he welcomed and set up an altar for the image of Asclepius at his house, when the deity was introduced to Athens. For this, he was given the posthumous epithet Dexion by the Athenians, he was elected, in 413 BC, one of the commissioners who responded to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War.
Sophocles died at the age of ninety or ninety-one in the winter of 406/5 BC, having seen within his lifetime both the Greek triumph in the Persian Wars and the bloodletting of the Peloponnesian War. As with many famous men in classical antiquity, his death inspired a number of apocryphal stories; the most famous is the suggestion that he died from the strain of trying to recite a long sentence from his Antigone without pausing to take a breath. Another account suggests. A third holds. A few months a comic poet, in a play titled The Muses, wrote this eulogy: "Blessed is Sophocles, who had a long life, was a man both happy and talented, the writer of many good tragedies. According to some accounts, his own sons tried to have him declared incompetent near the end of his life. One of his sons, a grandson called Sophocles became playwrights. An ancient source, Athenaeus’s work Sophists at Dinner, contains references to Sophocles' homosexuality or bisexuality. In that work, a character named Myrtilus, in a lengthy banquet speech claims that Ion of Chios writes in his book Encounters, that Sophocles loved boys as much as Euripides loved women.
Myrtilus repeats an anecdote told by Ion of Chios that involves Sophocles flirting with a serving boy at a symposium. Myrtilus claims that in a work by Hieronymus of Rhodes entitled Historical Notes it is said that Sophocles once lured a boy outside to have sex, afterwards the boy left with Sophocles' cape, while the boy's own cape was left with Sophocles Among Sophocles' earliest innovations was the addition of a third actor, which further reduced the role of the chorus and created greater opportunity for character development and conflict between characters. Aeschylus, who dominated Athenian playwriting during Sophocles' early career, followed suit and adopted the third character into his own work towards the end of h
Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes. Greek mythology is known today from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
In Greek mythology, Orion was a giant huntsman whom Zeus placed among the stars as the constellation of Orion. Ancient sources tell several different stories about Orion; the most important recorded episodes are his birth somewhere in Boeotia, his visit to Chios where he met Merope and after he violated her, was blinded by her father, the recovery of his sight at Lemnos, his hunting with Artemis on Crete, his death by the bow of Artemis or the sting of the giant scorpion which became Scorpio, his elevation to the heavens. Most ancient sources omit some of these episodes and several tell only one; these various incidents may have been independent, unrelated stories, it is impossible to tell whether omissions are simple brevity or represent a real disagreement. In Greek literature he first appears as a great hunter in Homer's epic the Odyssey, where Odysseus sees his shade in the underworld; the bare bones of Orion's story are told by the Hellenistic and Roman collectors of myths, but there is no extant literary version of his adventures comparable, for example, to that of Jason in Apollonius of Rhodes' Argonautica or Euripides' Medea.
The surviving fragments of legend have provided a fertile field for speculation about Greek prehistory and myth. Orion served several roles in ancient Greek culture; the story of the adventures of Orion, the hunter, is the one on which there is the most evidence. Orion is mentioned in the oldest surviving works of Greek literature, which date back to the 7th or 8th century BC, but which are the products of an oral tradition with origins several centuries earlier. In Homer's Iliad Orion is described as a constellation, the star Sirius is mentioned as his dog. In the Odyssey, Odysseus sees him hunting in the underworld with a bronze club, a great slayer of animals. In the Works and Days of Hesiod, Orion is a constellation, one whose rising and setting with the sun is used to reckon the year; the legend of Orion was first told in full in a lost work by Hesiod the Astronomia. This version is known through the work of Eratosthenes on the constellations, who gives a long summary of Hesiod's episode on Orion.
According to this version, Orion was the son of the sea-god Poseidon and Euryale, daughter of Minos, King of Crete. Orion could walk on the waves because of his father. In vengeance, Oenopion blinded Orion and drove him away. Orion stumbled to Lemnos where Hephaestus — the lame smith-god — had his forge. Hephaestus told his servant, Cedalion, to guide Orion to the uttermost East where Helios, the Sun, healed him. Orion returned to Chios to punish Oenopion, but the king hid away underground and escaped Orion's wrath. Orion's next journey took him to Crete where he hunted with the goddess Artemis and her mother Leto, in the course of the hunt, threatened to kill every beast on Earth. Mother Earth objected and sent a giant scorpion to kill Orion; the creature succeeded, after his death, the goddesses asked Zeus to place Orion among the constellations. Zeus consented and, as a memorial to the hero's death, added the Scorpion to the heavens as well. Although Orion has a few lines in both Homeric poems and in the Works and Days, most of the stories about him are recorded in incidental allusions and in obscure writings.
No great poet standardized the legend. The ancient sources for Orion's legend are notes in the margins of ancient poets or compilations by scholars, the equivalent of modern reference works or encyclopedias. In several cases, including the summary of the Astronomy, although the surviving work bears the name of a famous scholar, such as Apollodorus of Athens, Eratosthenes, or Gaius Julius Hyginus, what survives is either an ancient forgery or an abridgement of the original compilation by a writer of dubious competence; the margin of the Empress Eudocia's copy of the Iliad has a note summarizing a Hellenistic poet who tells a different story of Orion's birth. Here the gods Zeus and Poseidon come to visit Hyrieus of Tanagra, who roasts a whole bull for them; when they offer him a favor, he asks for the birth of sons. The gods take the bull's hide and urinate into it and bury it in the earth tell him to dig it up ten months later; when he does, he finds Orion. A second full telling is in a Roman-era collection of myths.
Here Orion is described as earthborn and enormous in stature. This version mentions Poseidon and Euryale as his parents, it adds a first marriage to Side before