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
Hyacinth or Hyacinthus is a divine hero from Greek mythology. His cult at Amyclae southwest of Sparta dates from the Mycenaean era. A temenos or sanctuary grew up around what was alleged to be his burial mound, located in the Classical period at the feet of Apollo's statue; the literary myths serve to link him to local cults, to identify him with Apollo. Hyacinth was given various parentage, providing local links, as the son of Clio and Pierus, or of king Oebalus of Sparta, or of king Amyclus of Sparta, progenitor of the people of Amyclae, dwellers about Sparta; as the youngest and most beautiful son of the latter and Diomedes, daughter of Lapithes, Hyacinth was the brother of Cynortus, Polyboea, in other versions, of Daphne. In Greek mythology, Hyacinth was a beautiful Spartan prince and lover of the god Apollo. Hyacinth was admired by the West wind Zephyrus, the North wind Boreas and by a mortal man named Thamyris, but Hyacinth chose Apollo over the others. The couple indulged themselves in climbing steep, rough mountains around Sparta.
With Apollo, Hyacinth visited all of Apollo's sacred lands in the chariot drawn by swans. Apollo taught to his lover the use of bow, of music and the lyre, the art of prophecy and exercises in the gymnasium. One day, Apollo was teaching him the game of quoit. Here is the god.....with unshorn locks. The youth keeps his eyes steadfastly on the ground, they are thoughtful, for he rejoices at what he hears.... They decided to have a friendly competition by taking turns to throw the discus. Apollo threw first, with such a strength. Hyacinth ran behind it to impress Apollo, but as the discus hit the ground, it bounced back, wounding him fatally. Alternatively, Zephyrus is held responsible for the death of Hyacinth. Jealous that Hyacinth preferred the radiant Apollo, Zephyrus blew Apollo's quoit boisterously off course to kill Hyacinth. Apollo's face turned as pale as his dying lover, he used all his medicinal skills, tried giving ambrosia to heal Hyacinth's wound, but in vain, for he couldn't cure the wound done by the Fates.
When Hyacinth died, Apollo wept. He wished to join his lover in his death. However, as, not possible, Apollo promised that he would always remember Hyacinth in his songs and the music of his lyre. From Hyacinth's blood, spilled, Apollo created a flower, the hyacinth; this flower, on whose petals Apollo had inscribed the words of despair, "AI AI" - "alas" was considered by the Greeks to be the most beautiful of all flowers. The Bibliotheca said Thamyris who showed romantic feelings towards Hyacinthus, was the first man to have loved another man; the flower hyacinth that rose from Hyacinth's blood is said to have had a deep blue hue and an inscription resembling "AI" on its petals, a symbol of sorrow. However, this flower has been identified with another plant, the larkspur, or an iris, rather than what we today call hyacinth. Ancient Greeks associated with Apollo a deep blue, or violet precious gem called hyacinth, it was called. This gem was held sacred to Apollo due to the mythological connection.
The people who visited Apollo's shrine, as well as his priests and the high priestess Pythia, were required to wear this gem."Hyacinthine hair" is used by the poets to describe curly hair that resembles the curled petals of hyacinth flowers, which in turn resembles the hair of Hyacinth himself. The term could be descriptive of the color of the hair. In Homer's Odyssey, Athena gives Odysseus hyacinthine hair to make him look more beautiful. Edgar Allan Poe, in the poem To Helen, uses the same term to beautify Helen's hair. Hyacinth was the tutelary deity of one of the principal Spartan festivals, celebrated in the Spartan month of Hyacinthia; the festival lasted three days, one day of mourning for the death of Hyacinth, the last two celebrating his rebirth, though the division of honours is a subject for scholarly controversy.. Beginning with mourning songs and dances for Hyacinth, the festival evolved into a celebration of glory of Apollo; as recorded by Pausanias, Hyacinth with beard, is taken along with his sister Polyboea to heaven by Aphrodite and Artemis..
The beard of Hyacinth represents his transformation. The name of Hyacinth is of pre-Hellenic origin. According to classical interpretations, his myth, where Apollo is a Dorian god, is a classical metaphor of the death and rebirth of nature, much as in the myth of Adonis, it has been suggested that Hyacinthus was a pre-Hellenic divinity supplanted by Apollo through the "accident" of his death, to whom he remains associated in the epithet of Apollon Hyakinthios. Apollo et Hyacinthus, the Mozart opera; the House of Hades, a young adult novel in the "Heroes of Olympus" series by Rick Riordan. The Hidden Oracle, another young adult novel in the "Trials of Apollo" series of the Camp Half-Blood chronicles by Rick Riordan. Gantz, Timothy. Early Greek Myth. Baltimore: Johns Hopkins University Press. Kerenyi, Karl; the Heroes of the Greeks. New York/London: Thames and Hudson. Collected classical references to Hyacinthus
Pausanias was a Greek traveler and geographer of the second-century AD, who lived in the time of Roman emperors Hadrian, Antoninus Pius, Marcus Aurelius. He is famous for his Description of Greece, a lengthy work that describes ancient Greece from his first-hand observations; this work provides crucial information for making links between classical literature and modern archaeology. Andrew Stewart assesses him as: A careful, pedestrian writer...interested not only in the grandiose or the exquisite but in unusual sights and obscure ritual. He is careless or makes unwarranted inferences, his guides or his own notes sometimes mislead him, yet his honesty is unquestionable, his value without par. Pausanias was born in 110 AD into a Greek family and was a native of Lydia. Before visiting Greece, he had been to Antioch and Jerusalem, to the banks of the River Jordan. In Egypt, he had seen the pyramids. While at the temple of Ammon, he had been shown the hymn once sent to that shrine by Pindar. In Macedonia, he appears to have seen.
Crossing over to Italy, he had seen something of the wonders of Rome. He was one of the first known to write of seeing the ruins of Troy, Alexandria Troas, Mycenae. Pausanias' Description of Greece is in each dedicated to some portion of Greece, he begins his tour in Attica, where the city of its demes dominate the discussion. Subsequent books describe Corinthia, Messenia, Achaea, Boetia and Ozolian Locris; the project is more than topographical. Pausanias digresses from the description of architectural and artistic objects to review the mythological and historical underpinnings of the society that produced them; as a Greek writing under the auspices of the Roman empire, he was in an awkward cultural space, between the glories of the Greek past he was so keen to describe and the realities of a Greece beholden to Rome as a dominating imperial force. His work bears the marks of his attempt to navigate that space and establish an identity for Roman Greece, he is not a naturalist by any means, although from time to time, he does comment on the physical realities of the Greek landscape.
He notices the pine trees on the sandy coast of Elis, the deer and the wild boars in the oak woods of Phelloe, the crows amid the giant oak trees of Alalcomenae. It is in the last section that Pausanias touches on the products of nature, such as the wild strawberries of Helicon, the date palms of Aulis, the olive oil of Tithorea, as well as the tortoises of Arcadia and the "white blackbirds" of Cyllene. Pausanias is most of Delphi, yet in the most secluded regions of Greece, he is fascinated by all kinds of depictions of deities, holy relics, many other sacred and mysterious objects. At Thebes he views the shields of those who died at the Battle of Leuctra, the ruins of the house of Pindar, the statues of Hesiod, Arion and Orpheus in the grove of the Muses on Helicon, as well as the portraits of Corinna at Tanagra and of Polybius in the cities of Arcadia. Pausanias has the instincts of an antiquary; as his modern editor, Christian Habicht, has said, In general, he prefers the old to the new, the sacred to the profane.
Some magnificent and dominating structures, such as the Stoa of King Attalus in the Athenian Agora or the Exedra of Herodes Atticus at Olympia are not mentioned. Unlike a Baedeker guide, in Periegesis Pausanias stops for a brief excursus on a point of ancient ritual or to tell an apposite myth, in a genre that would not become popular again until the early nineteenth century. In the topographical part of his work, Pausanias is fond of digressions on the wonders of nature, the signs that herald the approach of an earthquake, the phenomena of the tides, the ice-bound seas of the north, the noonday sun that at the summer solstice, casts no shadow at Syene. While he never doubts the existence of the deities and heroes, he sometimes criticizes the myths and legends relating to them, his descriptions of monuments of art are unadorned. They bear the impression of reality, their accuracy is confirmed by the extant remains, he is frank in his confessions of ignorance. When he quotes a book at second hand he takes pains to say so.
The work left faint traces in the known Greek corpus. "It was not read", Habicht relates. The only manuscripts of Pausanias are three fifteenth-century copies, full of errors and lacunae, which all appear to depend on a single manuscript that survived to be copied. Niccolò Niccoli had this archetype in Florence in 1418. At his death in 1437, it went to the library of San Marco, Florence it disappeared after 1500; until twentieth-century archaeologists concluded that Pausanias was a reliable guide to the sites they were excavating, Pausanias was la
Hades, in the ancient Greek religion and myth, is the god of the dead and the king of the underworld, with which his name became synonymous. Hades was the eldest son of Rhea, although the last son regurgitated by his father, he and his brothers and Poseidon, defeated their father's generation of gods, the Titans, claimed rulership over the cosmos. Hades received the underworld, Zeus the sky, Poseidon the sea, with the solid earth, long the province of Gaia, available to all three concurrently. Hades was portrayed with his three-headed guard dog Cerberus; the Etruscan god Aita and the Roman gods Dis Pater and Orcus were taken as equivalent to Hades and merged into Pluto, a Latinization of Plouton, itself a euphemistic title given to Hades. The origin of Hades' name is uncertain, but has been seen as meaning "the unseen one" since antiquity. An extensive section of Plato's dialogue Cratylus is devoted to the etymology of the god's name, in which Socrates is arguing for a folk etymology not from "unseen" but from "his knowledge of all noble things".
Modern linguists have proposed the Proto-Greek form *Awides. The earliest attested form is Aḯdēs. West argues instead for an original meaning of "the one who presides over meeting up" from the universality of death. In Homeric and Ionic Greek, he was known as Áïdēs. Other poetic variations of the name include Aïdōneús and the inflected forms Áïdos, Áïdi, Áïda, whose reconstructed nominative case *Áïs is, not attested; the name as it came to be known in classical times was Háidēs. The iota became silent a subscript marking, omitted entirely. From fear of pronouncing his name, around the 5th century BC, the Greeks started referring to Hades as Plouton, with a root meaning "wealthy", considering that from the abode below come riches. Plouton became the Roman god who both distributed riches from below; this deity was a mixture of the Greek god Hades and the Eleusinian icon Ploutos, from this he received a priestess, not practiced in Greece. More elaborate names of the same genre were Ploutodótēs or Ploutodotḗr, meaning "giver of wealth".
Epithets of Hades include Agesander and Agesilaos, both from ágō and anḗr or laos, describing Hades as the god who carries away all. Nicander uses the form Hegesilaus, he was referred to as Zeus katachthonios, meaning "the Zeus of the Underworld", by those avoiding his actual name, as he had complete control over the Underworld. In Greek mythology, the god of the underworld, was the first-born son of the Titans Cronus and Rhea, he had three older sisters, Hestia and Hera, as well as a younger brother, all of whom had been swallowed whole by their father as soon as they were born. Zeus was the youngest child and through the machinations of their mother, Rhea, he was the only one that had escaped this fate. Upon reaching adulthood, Zeus managed to force his father to disgorge his siblings. After their release, the six younger gods, along with allies they managed to gather, challenged the elder gods for power in the Titanomachy, a divine war; the war ended with the victory of the younger gods. Following their victory, according to a single famous passage in the Iliad and his two brothers and Zeus, drew lots for realms to rule.
Zeus received the sky, Poseidon received the seas, Hades received the underworld, the unseen realm to which the souls of the dead go upon leaving the world as well as any and all things beneath the earth. Some myths suggest that Hades was dissatisfied with his turnout, but had no choice and moved to his new realm. Hades obtained his wife and queen, through abduction at the behest of Zeus; this myth is the most important one. Helios told the grieving Demeter that Hades was not unworthy as a consort for Persephone: Aidoneus, the Ruler of Many, is no unfitting husband among the deathless gods for your child, being your own brother and born of the same stock: for honor, he has that third share which he received when division was made at the first, is appointed lord of those among whom he dwells. Despite modern connotations of death as evil, Hades was more altruistically inclined in mythology. Hades was portrayed as passive rather than evil; that said, he was depicted as cold and stern, he held all of his subjects accountable to his laws.
Any other individual aspects of his personality are not given, as Greeks refrained from giving him much thought to avoid attracting his attention. Hades ruled the dead, assisted by others over; the House of Hades was described as full of "guests," though he left the Underworld. He cared little about what happened in the world above, as his primary attention was ensuring none of his subjects left, he forbade his subjects to leave his domain and would become quite enraged when anyone tried to leave, or if someone tried to steal the souls from his realm. His wrath was terri
Timarete, was an ancient Greek painter. She was the daughter of the painter Micon the Younger of Athens. According to Pliny the Elder, she "scorned the duties of women and practised her father's art." At the time of Archelaus I of Macedon she was best known for a panel painting of the goddess of Diana, kept at Ephesus. Ephesus had a particular reverence for the goddess Diana. While it is no longer extant, it was kept at Ephesus for many years. One of the six female artists of antiquity mentioned in Pliny the Elder's Natural History in A. D. 77: Timarete, Calypso, Iaia, Olympias. They are mentioned in Boccaccio's De mulieribus claris. Pliny the Elder Naturalis historia xxxv.35.59, 40.147. Chadwick, Whitney. Women and Society. Thames and Hudson, London, 1990. Harris, Anne Sutherland and Linda Nochlin. Women Artists: 1550–1950. Los Angeles County Museum of Art, New York, 1976
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
A nymph in Greek mythology is a supernatural being associated with many other minor female deities that are associated with the air, seas or water, or particular locations or landforms. Different from Greek goddesses, nymphs are more regarded as divine spirits who animate or maintain Nature for the environments where they live, are depicted as beautiful, young graceful maidens, they are divided into various broad subgroups, such as Aurai, Nereides and Dryades The Greek word νύμφη has the primary meaning of "young woman. Yet the etymology of the noun νύμφη remains uncertain; the Doric and Aeolic form is νύμφα. Modern usage more applies to young women at the peak of their attractiveness, contrasting with parthenos "a virgin", generically as kore "maiden, girl"; the term is sometimes used by women to address each other and remains the regular Modern Greek term for "bride". Nymphs were sometimes beloved by many and dwell in most specific areas related to the natural environment. E.g. mountainous forests by springs or rivers.
Other nymphs appeared in the shape of young maidens, were part of the retinue of a god, such as Dionysus, Hermes, or Pan, or a goddess the huntress Artemis. The Greek nymphs were spirits invariably bound to places, not unlike the Latin genius loci, sometimes this produced complicated myths like cult of Arethusa to Sicily. In some of the works of the Greek-educated Latin poets, the nymphs absorbed into their ranks the indigenous Italian divinities of springs and streams, while the Lymphae, Italian water-goddesses, owing to the accidental similarity of their names, could be identified with the Greek Nymphae; the classical mythologies of the Roman poets were unlikely to have affected the rites and cults of individual nymphs venerated by country people in the springs and clefts of Latium. Among the Roman literate class, their sphere of influence was restricted, they appear exclusively as divinities of the watery element; the ancient Greek belief in nymphs survived in many parts of the country into the early years of the twentieth century, when they were known as "nereids".
Nymphs tended to frequent areas distant from humans but could be encountered by lone travelers outside the village, where their music might be heard, the traveler could spy on their dancing or bathing in a stream or pool, either during the noon heat or in the middle of the night. They might appear in a whirlwind; such encounters could be dangerous, bringing dumbness, besotted infatuation, madness or stroke to the unfortunate human. When parents believed their child to be nereid-struck, they would pray to Saint Artemidos. A motif that entered European art during the Renaissance was the idea of a statue of a nymph sleeping in a grotto or spring; this motif came from an Italian report of a Roman sculpture of a nymph at a fountain above the River Danube. The report, an accompanying poem on the fountain describing the sleeping nymph, are now concluded to be a fifteenth-century forgery, but the motif proved influential among artists and landscape gardeners for several centuries after, with copies seen at neoclassical gardens such as the grotto at Stourhead.
As H. J. Rose states, all the names for various classes of nymphs are plural feminine adjectives agreeing with the substantive nymphai, there was no single classification that could be seen as canonical and exhaustive. Thus, the classes of nymphs tend to overlap. Rose mentions dryads and hamadryads as nymphs of trees meliai as nymphs of ash trees, naiads as nymphs of water, but no others specifically; the following is not the authentic Greek classification, but is intended as a guide: The following is a list of groups of nymphs associated with this or that particular location. Nymphs in such groupings could belong to any of the classes mentioned above; the following is a selection of names of the nymphs whose class was not specified in the source texts. For lists of Naiads, Dryades etc. See respective articles. Sabrina Burkert, Walter. Greek Religion. Cambridge, MA: Harvard University Press. ISBN 978-0-674-36281-9. Larson, Jennifer Lynn. Greek Nymphs: Myth, Lore. New York: Oxford University Press. ISBN 978-0-19-514465-9.
Lawson, John Cuthbert, Modern Greek Folklore and Ancient Greek Religion, Cambridge University Press, Cambridge, 1910, p. 131 Nereids paleothea.com homepage Tomkinson, John L.. Haunted Greece: Nymphs and Other Exotika. Athens: Anagnosis. ISBN 978-960-88087-0-6; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Nymphs". Encyclopædia Britannica. 19. Cambridge University Press. P. 930. Theoi.com: Nymphs Theoi Project – List of Nymphs