Harvard University Press
Harvard University Press is a publishing house established on January 13, 1913, as a division of Harvard University, focused on academic publishing. It is a member of the Association of American University Presses. After the retirement of William P. Sisler in 2017, the university appointed as Director George Andreou; the press maintains offices in Cambridge, Massachusetts near Harvard Square, in London, England. The press co-founded the distributor TriLiteral LLC with Yale University Press. TriLiteral was sold to LSC Communications in 2018. Notable authors published by HUP include Eudora Welty, Walter Benjamin, E. O. Wilson, John Rawls, Emily Dickinson, Stephen Jay Gould, Helen Vendler, Carol Gilligan, Amartya Sen, David Blight, Martha Nussbaum, Thomas Piketty; the Display Room in Harvard Square, dedicated to selling HUP publications, closed on June 17, 2009. HUP owns the Belknap Press imprint, which it inaugurated in May 1954 with the publication of the Harvard Guide to American History; the John Harvard Library book series is published under the Belknap imprint.
Harvard University Press distributes the Loeb Classical Library and is the publisher of the I Tatti Renaissance Library, the Dumbarton Oaks Medieval Library, the Murty Classical Library of India. It is distinct from Harvard Business Press, part of Harvard Business Publishing, the independent Harvard Common Press, its 2011 publication Listed: Dispatches from America's Endangered Species Act by Joe Roman received the 2012 Rachel Carson Environment Book Award from the Society of Environmental Journalists. Hall, Max. Harvard University Press: A History. Cambridge, MA: Harvard University Press. ISBN 978-0-674-38080-6. Official website Blog of Harvard University Press
In ancient Greek religion and mythology, the Muses are the inspirational goddesses of literature and the arts. They are considered the source of the knowledge embodied in the poetry, lyric songs, myths that were related orally for centuries in these ancient cultures. In current English usage, "muse" can refer in general to a person who inspires an artist, musician, or writer; the word "Muses" came from the o-grade of the Proto-Indo-European root *men- or from root *men- since all the most important cult-centres of the Muses were on mountains or hills. R. S. P. Beekes suggests a Pre-Greek origin; the earliest known records of the Nine Muses are from the homeland of Hesiod. Some ancient authorities thought. There, a tradition persisted. In the first century BC, Diodorus Siculus cited Homer and Hesiod to the contrary, observing: Writers disagree concerning the number of the Muses. Diodorus states that Osiris first recruited the nine Muses, along with the satyrs, while passing through Ethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went.
According to Hesiod's account followed by the writers of antiquity, the Nine Muses were the nine daughters of Zeus and Mnemosyne, figuring as personifications of knowledge and the arts literature and music. The Roman scholar Varro relates that there are only three Muses: one born from the movement of water, another who makes sound by striking the air, a third, embodied only in the human voice, they were called Melete or "Practice", Mneme or "Memory" and Aoide or "Song". Three ancient Muses were reported in Plutarch's Quaestiones Convivales. However, the classical understanding of the Muses tripled their triad and established a set of nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and mime, traditional music, dance, it was not until Hellenistic times that the following systematic set of functions was assigned to them, then there was some variation in both their names and their attributes: Calliope, Euterpe, Melpomene, Erato and Urania.
According to Pausanias in the second century AD, there were three Muses, worshipped on Mount Helicon in Boeotia: Aoide and Mneme. Together, these three form the complete picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names: Nete and Hypate, which are assigned as the names of the three chords of the ancient musical instrument, the lyre. Alternatively they were called Cephisso and Borysthenis, names which characterize them as daughters of Apollo. In a tradition, a set of four Muses were recognized: Thelxinoë, Archē, Melete, said to be daughters of Zeus and Plusia or of Ouranos. One of the people associated with the Muses was Pierus. By some he was called the father of a total of seven Muses, called Neilṓ, Tritṓnē, Asōpṓ, Heptápora, Achelōís, Tipoplṓ, Rhodía. According to Hesiod's Theogony, they were daughters of Zeus, king of the gods, Mnemosyne, Titan goddess of memory. For Alcman and Mimnermus, they were more primordial, springing from the early deities Ouranos and Gaia.
Gaia is Mother Earth, an early mother goddess, worshipped at Delphi from prehistoric times, long before the site was rededicated to Apollo indicating a transfer to association with him after that time. Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and with Pieris, it was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the Muses were born. Athena tamed the horse and presented him to the Muses. Classical writers set Apollo as Apollon Mousagetēs. In one myth, the Muses judged a contest between Marsyas, they gathered the pieces of the dead body of Orpheus, son of Calliope, buried them in Leivithra. In a myth, Thamyris challenged them to a singing contest, they punished Thamyris by blinding him and robbing him of his singing ability. According to a myth from Ovid's Metamorphoses—alluding to the connection of Pieria with the Muses—Pierus, king of Macedon, had nine daughters he named after the nine Muses, believing that their skills were a great match to the Muses.
He thus challenged the Muses to a match, resulting in his daughters, the Pierides, being turned into chattering magpies for their presumption. Pausanias records a tradition of two generations of Muses. Another, rarer genealogy is that they are daughters of Harmonia
Henry Wadsworth Longfellow
Henry Wadsworth Longfellow was an American poet and educator whose works include "Paul Revere's Ride", The Song of Hiawatha, Evangeline. He was the first American to translate Dante Alighieri's Divine Comedy and was one of the Fireside Poets from New England. Longfellow was born in Portland, still part of Massachusetts, he studied at Bowdoin College and, after spending time in Europe, he became a professor at Bowdoin and at Harvard College. His first major poetry collections were Voices of Other Poems. Longfellow retired from teaching in 1854 to focus on his writing, he lived the remainder of his life in a former Revolutionary War headquarters of George Washington in Cambridge, Massachusetts, his first wife Mary Potter died in 1835 after a miscarriage. His second wife Frances Appleton died in 1861 after sustaining burns. After her death, Longfellow had difficulty writing poetry for a time and focused on translating works from foreign languages, he died in 1882. Longfellow wrote many lyric poems known for their musicality and presenting stories of mythology and legend.
He became the most popular American poet of his day and had success overseas. He has been criticized, for imitating European styles and writing for the masses. Longfellow was born on February 27, 1807 to Stephen Longfellow and Zilpah Longfellow in Portland, Maine a district of Massachusetts, he grew up in -- Longfellow House. His father was a lawyer, his maternal grandfather was Peleg Wadsworth, a general in the American Revolutionary War and a Member of Congress, his mother was descended from a passenger on the Mayflower. He was named after his mother's brother Henry Wadsworth, a Navy lieutenant who had died three years earlier at the Battle of Tripoli, he was the second of eight children. Longfellow's ancestors were English colonists, they included Mayflower Pilgrims Richard Warren, William Brewster, John and Priscilla Alden, as well as Elizabeth Pabodie, the first child born in Plymouth Colony. Longfellow attended a dame school at the age of three and was enrolled by age six at the private Portland Academy.
In his years there, he earned a reputation as being studious and became fluent in Latin. His mother encouraged his enthusiasm for reading and learning, introducing him to Robinson Crusoe and Don Quixote, he published his first poem in the Portland Gazette on November 17, 1820, a patriotic and historical four-stanza poem called "The Battle of Lovell's Pond". He studied at the Portland Academy until age 14, he spent much of his summers as a child at his grandfather Peleg's farm in Maine. In the fall of 1822, 15 year-old Longfellow enrolled at Bowdoin College in Brunswick, along with his brother Stephen, his grandfather was a founder of the college and his father was a trustee. There Longfellow met Nathaniel Hawthorne, he boarded with a clergyman for a time before rooming on the third floor in 1823 of what is now known as Winthrop Hall. He joined a group of students with Federalist leanings. In his senior year, Longfellow wrote to his father about his aspirations: I will not disguise it in the least….
The fact is, I most eagerly aspire after future eminence in literature, my whole soul burns most ardently after it, every earthly thought centres in it…. I am confident in believing, that if I can rise in the world it must be by the exercise of my talents in the wide field of literature, he pursued his literary goals by submitting poetry and prose to various newspapers and magazines due to encouragement from Professor Thomas Cogswell Upham. He published nearly 40 minor poems between January 1824 and his graduation in 1825. About 24 of them were published in the short-lived Boston periodical The United States Literary Gazette; when Longfellow graduated from Bowdoin, he was ranked fourth in the class and had been elected to Phi Beta Kappa. He gave the student commencement address. After graduating in 1825, Longfellow was offered a job as professor of modern languages at his alma mater. An apocryphal story claims that college trustee Benjamin Orr had been impressed by Longfellow's translation of Horace and hired him under the condition that he travel to Europe to study French and Italian.
Whatever the catalyst, Longfellow began his tour of Europe in May 1826 aboard the ship Cadmus. His time abroad lasted three years and cost his father $2,604.24. He traveled to France, Italy, back to France to England before returning to the United States in mid-August 1829. While overseas, he learned French, Spanish and German without formal instruction. In Madrid, he spent time with Washington Irving and was impressed by the author's work ethic. Irving encouraged the young Longfellow to pursue writing. While in Spain, Longfellow was saddened to learn that his favorite sister Elizabeth had died of tuberculosis at the age of 20 that May. On August 27, 1829, he wrote to the president of Bowdoin that he was turning down the professorship because he considered the $600 salary "disproportionate to the duties required"; the trustees raised his salary to $800 with an additional $100 to serve as the college's librarian, a post which required one hour of work per day. During his years teaching at the college, he translated textbooks from French and Spanish.
He published the travel book Outre-Mer: A Pilgrimage Beyond the Sea in serial form before a book edition was released in 1835. Shortly
Hesiod was a Greek poet thought by scholars to have been active between 750 and 650 BC, around the same time as Homer. He is regarded as the first written poet in the Western tradition to regard himself as an individual persona with an active role to play in his subject. Ancient authors credited Homer with establishing Greek religious customs. Modern scholars refer to him as a major source on Greek mythology, farming techniques, early economic thought, archaic Greek astronomy and ancient time-keeping; the dating of Hesiod's life is a contested issue in scholarly circles. Epic narrative allowed poets like Homer no opportunity for personal revelations. However, Hesiod's extant work comprises several didactic poems in which he went out of his way to let his audience in on a few details of his life. There are three explicit references in Works and Days, as well as some passages in his Theogony that support inferences made by scholars; the former poem says that his father came from Cyme in Aeolis and crossed the sea to settle at a hamlet, near Thespiae in Boeotia, named Ascra, "a cursed place, cruel in winter, hard in summer, never pleasant".
Hesiod's patrimony there, a small piece of ground at the foot of Mount Helicon, occasioned lawsuits with his brother Perses, who seems, at first, to have cheated him of his rightful share thanks to corrupt authorities or "kings" but became impoverished and ended up scrounging from the thrifty poet. Unlike his father, Hesiod was averse to sea travel, but he once crossed the narrow strait between the Greek mainland and Euboea to participate in funeral celebrations for one Athamas of Chalcis, there won a tripod in a singing competition, he describes a meeting between himself and the Muses on Mount Helicon, where he had been pasturing sheep when the goddesses presented him with a laurel staff, a symbol of poetic authority. Fanciful though the story might seem, the account has led ancient and modern scholars to infer that he was not a professionally trained rhapsode, or he would have been presented with a lyre instead; some scholars have seen Perses as a literary creation, a foil for the moralizing that Hesiod develops in Works and Days, but there are arguments against that theory.
For example, it is quite common for works of moral instruction to have an imaginative setting, as a means of getting the audience's attention, but it could be difficult to see how Hesiod could have travelled around the countryside entertaining people with a narrative about himself if the account was known to be fictitious. Gregory Nagy, on the other hand, sees both Pérsēs and Hēsíodos as fictitious names for poetical personae, it might seem unusual that Hesiod's father migrated from Asia Minor westwards to mainland Greece, the opposite direction to most colonial movements at the time, Hesiod himself gives no explanation for it. However around 750 BC or a little there was a migration of seagoing merchants from his original home in Cyme in Asia Minor to Cumae in Campania, his move west had something to do with that, since Euboea is not far from Boeotia, where he established himself and his family; the family association with Aeolian Cyme might explain his familiarity with eastern myths, evident in his poems, though the Greek world might have developed its own versions of them.
In spite of Hesiod's complaints about poverty, life on his father's farm could not have been too uncomfortable if Works and Days is anything to judge by, since he describes the routines of prosperous yeomanry rather than peasants. His farmer employs a friend as well as servants, an energetic and responsible ploughman of mature years, a slave boy to cover the seed, a female servant to keep house and working teams of oxen and mules. One modern scholar surmises that Hesiod may have learned about world geography the catalogue of rivers in Theogony, listening to his father's accounts of his own sea voyages as a merchant; the father spoke in the Aeolian dialect of Cyme but Hesiod grew up speaking the local Boeotian, belonging to the same dialect group. However, while his poetry features some Aeolisms there are no words that are Boeotian, his basic language was the main literary dialect of Homer's Ionian. It is probable that Hesiod wrote his poems down, or dictated them, rather than passed them on orally, as rhapsodes did—otherwise the pronounced personality that now emerges from the poems would have been diluted through oral transmission from one rhapsode to another.
Pausanias asserted that Boeotians showed him an old tablet made of lead on which the Works were engraved. If he did write or dictate, it was as an aid to memory or because he lacked confidence in his ability to produce poems extempore, as trained rhapsodes could do, it wasn't in a quest for immortal fame since poets in his era had no such notions for themselves. However, some scholars suspect the presence of large-scale changes in the text and attribute this to oral transmission, he composed his verses during idle times on the farm, in the spring before the May harvest or the dead of winter. The personality behind the poems is unsuited to the kind of "aristocratic withdrawal" typical of a rhapsode but is instead "argumentative, suspicious humorous, fond of proverbs, wary of women." He was in fact a misogynist of t
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
Francesco Petrarca anglicized as Petrarch, was a scholar and poet of Renaissance Italy, one of the earliest humanists. His rediscovery of Cicero's letters is credited with inventing the 14th-century Renaissance. Petrarch is considered the founder of Humanism. In the 16th century, Pietro Bembo created the model for the modern Italian language based on Petrarch's works, as well as those of Giovanni Boccaccio, and, to a lesser extent, Dante Alighieri. Petrarch would be endorsed as a model for Italian style by the Accademia della Crusca. Petrarch's sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry, he is known for being the first to develop the concept of the "Dark Ages." Petrarch was born in the Tuscan city of Arezzo in 1304. He was the son of his wife Eletta Canigiani, his given name was Francesco Petracco. The name was Latinized to Petrarca. Petrarch's younger brother was born in Incisa in Val d'Arno in 1307. Dante was a friend of his father.
Petrarch spent his early childhood near Florence. He spent much of his early life at Avignon and nearby Carpentras, where his family moved to follow Pope Clement V who moved there in 1309 to begin the Avignon Papacy, he studied law at the University of Montpellier and Bologna with a lifelong friend and schoolmate called Guido Sette. Because his father was in the legal profession, he insisted that Petrarch and his brother study law also. Petrarch however, was interested in writing and Latin literature and considered these seven years wasted. Additionally, he proclaimed that through legal manipulation his guardians robbed him of his small property inheritance in Florence, which only reinforced his dislike for the legal system, he protested, "I couldn't face making a merchandise of my mind," as he viewed the legal system as the art of selling justice. Petrarch was a prolific letter writer and counted Boccaccio among his notable friends to whom he wrote often. After the death of their parents and his brother Gherardo went back to Avignon in 1326, where he worked in numerous clerical offices.
This work gave him much time to devote to his writing. With his first large-scale work, Africa, an epic in Latin about the great Roman general Scipio Africanus, Petrarch emerged as a European celebrity. On April 8, 1341, he became the second poet laureate since antiquity and was crowned by Roman Senatori Giordano Orsini and Orso dell'Anguillara on the holy grounds of Rome's Capitol, he traveled in Europe, served as an ambassador, has been called "the first tourist" because he traveled just for pleasure, the reason he climbed Mont Ventoux. During his travels, he collected crumbling Latin manuscripts and was a prime mover in the recovery of knowledge from writers of Rome and Greece, he encouraged and advised Leontius Pilatus's translation of Homer from a manuscript purchased by Boccaccio, although he was critical of the result. Petrarch had acquired a copy, which he did not entrust to Leontius. In 1345 he discovered a collection of Cicero's letters not known to have existed, the collection Epistulae ad Atticum, in the Chapter Library of Verona Cathedral.
Disdaining what he believed to be the ignorance of the centuries preceding the era in which he lived, Petrarch is credited or charged with creating the concept of a historical "Dark Ages". Petrarch recounts that on April 26, 1336, with his brother and two servants, he climbed to the top of Mont Ventoux (1,912 meters, a feat which he undertook for recreation rather than necessity; the exploit is described in a celebrated letter addressed to his friend and confessor, the monk Dionigi di Borgo San Sepolcro, composed some time after the fact. In it, Petrarch claimed to have been inspired by Philip V of Macedon's ascent of Mount Haemo and that an aged peasant had told him that nobody had ascended Ventoux before or after himself, 50 years before, warned him against attempting to do so; the nineteenth-century Swiss historian Jacob Burckhardt noted that Jean Buridan had climbed the same mountain a few years before, ascents accomplished during the Middle Ages have been recorded, including that of Anno II, Archbishop of Cologne.
Scholars note that Petrarch's letter to Dionigi displays a strikingly "modern" attitude of aesthetic gratification in the grandeur of the scenery and is still cited in books and journals devoted to the sport of mountaineering. In Petrarch, this attitude is coupled with an aspiration for a virtuous Christian life, on reaching the summit, he took from his pocket a volume by his beloved mentor, Saint Augustine, that he always carried with him. For pleasure alone he climbed Mont Ventoux, which rises to more than six thousand feet, beyond Vaucluse, it was no great feat, of course. Petrarch was dazed and stirred by the view of the Alps, the mountains around Lyons, the Rhone, the Bay of Marseilles, he took Augustine's Confessions from his pocket and reflected that his climb was an allegory of aspiration toward a better life. As the book fell open, Petrarch's eyes were drawn to the following words: And men go about to wonder at the heights of the mountains, the mighty waves of the sea, the wide sweep of rive
Mount Helicon is a mountain in the region of Thespiai in Boeotia, celebrated in Greek mythology. With an altitude of 1,749 metres, it is located 10 kilometres from the north coast of the Gulf of Corinth; some researchers maintain that Helicon was the Greek name of mount Rocca Salvatesta in Sicily as a river started from it was called Helikon. In Greek mythology, two springs sacred to the Muses were located here: the Aganippe and the Hippocrene, both of which bear "horse" in their names. In a related myth, the Hippocrene spring was created when the winged horse Pegasus aimed his hoof at a rock, striking it with such force that the spring burst from the spot. On Mount Helicon too was the spring. Mount Helicon and the Hippocrene spring were considered to be a source of poetic inspiration. In the late seventh century BCE, the poet Hesiod placed a reference to the Muses on the Helicon at the beginning of his Theogony: Later in the text, he describes a meeting between himself and the Muses on Mount Helicon, where he had been pasturing sheep when the goddesses presented him with a laurel staff, a symbol of poetic authority.
The Helicon thus was an emblem of poetical inspiration. In the Homeric Hymn to Poseidon – dated to the seventh century, but a bit than Hesiod's works – a brief invocation, the god is hailed as "Lord of Helicon". In his Aitia, the third-century BC poet Callimachus recounts his dream in which he was young once more and conversed with the Muses on Helicon. and thus follows explicitly in the footsteps of Hesiod. He placed on Helicon the episode in which Tiresias stumbles upon Athena bathing and is blinded but at the same time given the art of prophecy, by which means poetry and prophecy are implicitly connected to each other. Reflecting this account, the Roman poet Ovid, in his Metamorphoses, writes of Minerva visiting the muses on Mount Helicon; the cult centers on Helicon established in the Valley of the Muses, a fertile valley near Thespiai and Ascra, under the influence of the Hesiodic texts, in Hellenistic times if not before, were visited by Pausanias in the second century CE. He explored the sacred grove by the spring Aganippe and left a full description as it was.
He saw images of Eupheme, nurse of the Muses, of the legendary poet Linus "in a small rock, worked into the manner of a cave". In the temenos were statues, some by famous masters, of Apollo and Dionysus and famed poets; the absence of Homer at Helicon has been noticed by Richard Hunter: "The presence of Homer would spoil the party, for the tendency to see these as rival figures for supremacy in epos is familiar from the Contest of Homer and Hesiod, parts of which derive from the classical period". But if the presence of Homer at the festival Hesiod mentions in Works and Days was a interpolation, the sacrificial tripod which Hesiod won at a contest in Chalcis in Euboea was still on view at Helicon in Pausanias' day; the poetical image of Helicon established by the Roman poets became once more an emblem of cultural inspiration with the Renaissance and is referred to in poetry. Helicon was the inspiration for the balls held by the Hungarian composer Leó Festetics at his castle near Keszthely. Festetics named the library he founded Helikon Library, promoting literacy and culture in his home city.
UNESCO World Heritage site, the monastery of Hosios Loukas is located on Mount Helicon. The Four Seasons released the album Helicon in 1977, with a song "Helicon" containing the lyric "Take me to Helicon, I want to write my song" During the 1980s an Australian Broadcasting Corporation radio arts programme was called Radio Helicon; the Scottish band Mogwai recorded two tracks as part of their Government Commissions: BBC Sessions 1996–2003 album entitled New Paths to Helicon, Pt. 1 and New Paths to Helicon, Pt. 2. Irish author Seamus Heaney wrote a poem entitled “Personal Helicon”, which references the story of Narcissus and the mountain’s spring; the poet John Godfrey Saxe mentioned the waters from Mount Helicon in the poem, “Where There's a Will There's a Way.” Richard Hunter, The Shadow of Callimachus: Studies in the Reception of Hellenistic Poetry at Rome 2006:16ff "De Monte Sororum: In the Grove"