CLIO (Kleio) - Greek Goddess Muse of History Make Famous (kleô) Muse Clio, Greco-Roman marble statue C2nd A.D., State Hermitage Museum KLEIO (Clio) was one of the nine Mousai (Muses), the goddesses of music, song and dance. In the Classical era, when the Mousai were assigned specific literary and artistic spheres, Kleio was named Muse of history. In this guise she was represented holding an open scroll or seated beside a chest of books.

Her name was derived from the Greek verb kleô, "to make famous" or "celebrate." FAMILY OF CLIO [1] ZEUS & MNEMOSYNE (Hesiod Theogony 75, Apollodorus 1.13, Diodorus Siculus 4.7.1, Orphic Hymn 76) OFFSPRING [1] HYMENAIOS (Greek Lyric V Licymnius) [2] HYAKINTHOS (by Pieros) (Apollodorus 1.16) CLASSICAL LITERATURE QUOTES PARENTAGE & CHILDREN OF CLIO Hesiod, Theogony 75 ff (trans.

Evelyn-White) (Greek epic C8th or C7th B.C.) : "The Mousai (Muses) sang who dwell on Olympos, nine daughters begotten by great Zeus, Kleio (Clio) and Euterpe, Thaleia (Thalia), Melpomene and Terpsikhore (Terpsichore), and Erato and Polymnia (Polyhymnia) and Ourania (Urania) and Kalliope (Calliope)." Licymnius, Fragment 768A (from Philodemus, On Piety) (trans. Campbell, Vol. Greek Lyric V) (Greek lyric C5th B.C.) : "Moreover Kleio (Clio) the Mousa (Muse) fell in love with a man, according to Likymnios (Licymnius), and some think Hymenaios (Hymenaeus) was her son." Pseudo-Apollodorus, Bibliotheca 1. 13 (trans.

Aldrich) (Greek mythographer C2nd A.D.) : "Mnemosyne [bore to Zeus] the Mousai (Muses), the eldest of whom was Kalliope (Calliope), followed by Kleio (Clio), Melpomene, Euterpe, Erato, Terpsikhore (Terpsichore), Ourania (Urania), Thaleia (Thalia), and Polymnia." Pseudo-Apollodorus, Bibliotheca 1. 16 : "Aphrodite, furious with Kleio (Clio) (who had chided her for loving Adonis), caused her to fall in love with Magnes' son Pieros (Pierus). As a result of their union she bore him a son Hyakinthos (Hyacinthus)." Orphic Hymn 76 to the Muses (trans. Taylor) (Greek hymns C3rd B.C. to 2nd A.D.) : "Daughters of Mnemosyne and Zeus . . .

Kleio (Clio), and Erato who charms the sight, with thee, Euterpe, ministering delight : Thalia flourishing, Polymnia famed, Melpomene from skill in music named : Terpsikhore (Terpsichore), Ourania (Urania) heavenly bright." CLIO GODDESS OF POETRY Virgil and the Muses Clio and Melpomene, Greco-Roman mosaic A.D., Bardo National Museum Pindar, Nemean Ode 3. 10 & 82 ff (trans. Conway) (Greek lyric C5th B.C.) : "Of song grant, of my skill, full measure. Strike, O daughter of the lord of cloud-capped heaven,,chords to his honour; mine to wed them with the youthful voices and with the lyre . . . In your honour then, if high-throned Kleio (Clio) wills, for your proud spirit of conquest." Simonides, Fragment 577 (from Plutarch) (trans. Campbell, Vol.

Greek Lyric III) (Greek lyric C6th to 5th B.C.) : "For there was a shrine of the Mousai (Muses) here [south of Apollon's temple at Delphoi (Delphi)] where the spring wells up, and that is why they used this water for libation and lustrations, as Simonides says : ‘where the holy water of the lovely-haired Moisai (Muses) is drawn from below for lustration. Overseer of the holy lustration-water, golden Kleio (Clio), who give the water-drawers from the ambosial cave the fragrant lovely water sought with many prayers.’" Bacchylides, Fragment 3 (trans. Campbell, Vol.

Greek Lyric IV) (Greek lyric C5th B.C.) : "Sing, Kleio (Clio), giver of sweetness." Bacchylides, Fragment 12 : "Like a skilled helmsman, Kleio (Clio), queen of song, steer my thoughts straight now, if ever before." Bacchylides, Fragment 13 : "Trusting in it and in the Mousai (Muses) of the crimson headdress I for my part display this gift of songs If it was indeed flowering Kleio (Clio) who made it [the song] drip into my heart, there will be delight in the words of the songs that proclaim him to the people." Callimachus, Aetia Fragment 43 (trans. Trypanis) (Greek poet C3rd B.C.) : "And Kleio (Clio) went on to speak yet again, resting her arm upon her sister's shoulder." Diodorus Siculus, Library of History 4. 7. 1 (trans.

Oldfather) (Greek historian C1st B.C.) : "Hesiod even gives their names [the Mousai's (Muses')] when he writes : ‘Kleio (Clio), Euterpe, and Thaleia (Thalia), Melpomene, Terpsikhore (Terpsichore) and Erato, and Polymnia, Ourania (Urania), Kalliope (Calliope) too, of them all the most comely.’ To each of the Mousai (Muses) men assign her special aptitude for one of the branches of the liberal arts, such as poetry, song, pantomimic dancing, the round dance with music, the study of the stars, and the other liberal arts . . . For the name of each Mousa, they say, men have found a reason appropriate to her . . . Kleio (Clio) is so named because the praise which poets sing in their encomia bestows great glory (kleos) upon those who are praised." Valerius Flaccus, Argonautica 3. 15 ff (trans.

Mozley) (Roman epic C1st A.D.) : "Clio . . . to thee, O Muse, has been vouchsafed the power to know the hearts of the gods and the ways by which things come to be." Statius, Thebaid 10. 630 ff (trans. Mozley) (Roman epic C1st A.D.) : "Begin thou, unforgetting Clio, for all the ages are in thy keeping, and all the storied annals of the past." ANCIENT GREEK & ROMAN ART Greco-Roman Tunis Floor Mosaic A.D. Z20.2 Portraits of the Nine Muses Greco-Roman Cos Floor Mosaic A.D. Z20.3 Portraits of the Nine Muses Greco-Roman Trier Mosaic C3rd A.D. Z20.4 Symbols of the Nine Muses Greek Elis Floor Mosaic C1st B.C. S20.3B Statue of Muse Clio Greco-Roman Marble Statue C2nd A.D.

SOURCES Muses THE MUSES Zeus, disguised as a shepherd, slept with Mnemosyne, the Titan goddess of memory, on nine consecutive nights. Nine months later were born the nine Muses at the foot of Mount Olympus. They are companions of the Graces, sitting near the throne of Zeus and singing of his greatness, of the world, and of the deeds of the heroes. Primarily, they promote the arts and sciences; they inspire artists, poets, philosophers, and musicians. The Muses also sang at the wedding of Cadmus and Harmonia, the wedding of Peleus and Thetis, and at the funeral of Achilles. The few stories of those who dared compete with the Muses end in disaster for the challengers: Thamyris, the minstrel (who lost his minstrelsy and his eyes); the Sirens (who had their feathers plucked out); and the daughters of the King and Queen of Macedonia (named after the Muses, they were turned into birds). King Pyreneus of Daulis attempted to seduce the Muses and was led to his death by jumping after them off the top of a tower.

Sacred places dedicated to the Muses were known as mouseions, from which we have the word "museum." Calliope: "The Fair-Voiced": muse of epic poetry (and eloquence). Her symbol is the writing tablet or the book. She, the eldest among the muses, is the mother of Orpheus (and Linus). Homer invokes her as his muse in the Iliad and the Odyssey. She favored Achilles and taught him how to entertain his friends by singing at feasts. She settled an argument between Aphrodite and Persephone over their rivalry for Adonis. Clio: "The Proclaimer": muse of history. Her symbol is the scroll. She is credited with having introduced the Phoenician alphabet into Greece. She was the mother of Hyacinthus who is killed by the wayward bounce of a discus thrown by Apollo (see Ovid's Metamorphoses, Book 10). Erato: "The Lovely": muse of love poetry (and mimicry). Her symbol is the lyre. She is often seen wearing a crown of roses. Euterpe: "The Giver of Pleasure": muse of music. Her symbol is the flute.

She is credited with the invention of the flute. She was the mother of Rhosus who was killed in at Troy. Melpomene: "The Songstress": muse of tragedy. Her symbol is the tragic mask. She is often depicted wearing a garland or a crown of cypress, and she often carries a club or sword. She shows up frequently wearing cothurnes -- boots worn by tragic actors. Polyhymnia: "She of Many Hymns": muse of sacred poetry and religious dance. She is identified by the pensive look on her face, which often is veiled. She is also associated with geometry, mime, agriculture, and meditation. Terpsichore: "The Whirler": muse of dance and lyric poetry. She is seen dancing and holding a lyre. She shows up with a plectrum also, a device used for plucking stringed instruments. She was mother to the Sirens (with Achelous the river god as father). Thalia: "The Flourishing": muse of comedy and idyllic poetry. Her symbol is the comic mask. She appears with a shepherd's staff and wearing a crown of ivy.

She was mother of the Corybantes (the father was Apollo); these were priests who castrated themselves in devotion to the goddess Cybele. Urania: "The Heavenly": muse of astronomy. She holds a globe. She appears often with a peg in one hand and dressed in a cloak embroidered with stars. She foretells the future by reading the positions of the stars. About the Ancient Muses | MuseSax.com 1800-1949 | 1950-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 1990-1999 | 2000-2012 | Musicals & Movie Trailers The 3 Boeotian Muses: Aoide, Melete, Mneme 3 ancient Muses considered the source of knowledge were: Aoide (song), Mneme (memory), Melete (practice). Immortalized by centuries of stories in ancient culture as poetic lyrics and myths.

The Muses (Ancient Greek: Μοῦσαι, moũsai: perhaps from the o-grade of the Proto-Indo-European root *men- "think") in Greek mythology, poetry, and literature, are the goddesses of the inspiration of literature, science and the arts. They were considered the source of the knowledge, related orally for centuries in the ancient culture that was contained in poetic lyrics and myths. Origins of the Muses In Boeotia, the homeland of Hesiod, a tradition persisted that the Muses had once been three in number. Diodorus Siculus, quotes Hesiod to the contrary, observing: Writers similarly disagree also concerning the number of the Muses; for some say that there are three, and others that there are nine, but the number nine has prevailed since it rests upon the authority of the most distinguished men, such as Homer and Hesiod and others like them. Diodoris also states (Book I.18) that Osiris first recruited the nine Muses, along with the Satyrs or male dancers, while passing through Ethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went.

The Muses, the personification of knowledge and the arts, especially literature, dance and music, are the nine daughters of Zeus and Mnemosyne (memory personified). Hesiod's account and description of the Muses was the one generally followed by the writers of antiquity. It was not until Roman times that the following functions were assigned to them, and even then there was some variation in both their names and their attributes: Calliope -epic poetry; Clio -history; Euterpe -flutes and lyric poetry; Thalia -comedy and pastoral poetry; Melpomene -tragedy; Terpsichore -dance; Erato -love poetry; Polyhymnia -sacred poetry; Urania -astronomy. Three ancient Muses were also reported in Plutarch's Quaestiones Conviviviales (9.I4.2–4). The Roman scholar Varro relates that there are only three Muses: one who is born from the movement of water, another who makes sound by striking the air, and a third who is embodied only in the human voice. They were Melete or Practice, Mneme or Memory and Aoide or Song.

However the Classical understanding of the muses tripled their triad, set at nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and stage, writing, traditional music, and dance. In one myth, King 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. Sometimes they 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 later tamed the horse and presented him to the muses. Antiquity set Apollo as their leader, Apollon Mousagetēs ("Apollo Muse-leader").

Not only are the Muses explicitly used in modern English to refer to an artistic inspiration, as when one cites one's own artistic muse, but they also are implicit in words and phrases such as "amuse", "museum" (Latinised from mouseion—a place where the muses were worshipped), "music", and "musing upon". According to Hesiod's Theogony (7th century BCE), they were daughters of Zeus, the second generation king of the gods, and the offspring of Mnemosyne, goddess of memory. For Alcman and Mimnermus, they were even more primordial, springing from the early deities, Uranus and Gaia. Gaia is Mother Earth, an early mother goddess who was worshipped at Delphi from prehistoric times, long before the site was rededicated to Apollo, possibly indicating a transfer to association with him after that time. Pausanias records a tradition of two generations of Muses; the first being daughters of Uranus and Gaia, the second of Zeus and Mnemosyne.

Another, rarer genealogy is that they are daughters of Harmonia (the daughter of Aphrodite and Ares) which contradicts the myth in which they were dancing at the wedding of Harmonia and Cadmus. This later inconsistency is an example of how clues to the true dating, or chronology, of myths may be determined by the appearance of figures and concepts in Greek myths. Compare the Roman inspiring nymphs of springs, the Camenae, the Völva of Norse Mythology and also the apsaras in the mythology of classical India. Muses in myth According to Pausanias in the later 2nd century AD, there were three original Muses, worshiped on Mount Helicon in Boeotia: Aoidē ("song" or "tune"), Meletē ("practice" or "occasion"), and Mnēmē ("memory"). 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: Nētē, Mesē, and Hypatē, which are assigned as the names of the three chords of the ancient musical instrument, the lyre.

Alternatively they later were called Cēphisso, Apollonis, and Borysthenis, whose names characterize them as daughters of Apollo. In later tradition, four Muses were recognized: Thelxinoë, Aoedē, Arche, and Meletē, said to be daughters of Zeus and Plusia or of Uranus. One of the persons frequently associated with the Muses was Pierus. By some he was called the father (by a Pimpleian nymph: called Antiope by Cicero) of a total of seven Muses, called Neilo (Νειλώ), Tritone (Τριτώνη), Asopo (Ἀσωπώ), Heptapora (Ἑπτάπορα), Achelois, Tipoplo (Τιποπλώ), and Rhodia (Ῥοδία). In one myth, the Muses judged a contest between Apollo and Marsyas. They also gathered the pieces of the dead body of Orpheus, son of Calliope, and buried them. In a later myth, Thamyris challenged them to a singing contest.

They won and punished Thamyris by blinding him and robbing him of his singing ability. Though the Muses, when taken together, form a complete picture of the subjects proper to poetic art, the association of specific Muses with specific art forms is a later innovation. The Muses were not assigned standardized divisions of poetry with which they are now identified until late Hellenistic times. Apollo had 9 muses: Calliope, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia, Urania. The Emblems of Apollo's 9 Muses Muse The Functions of the Muses Muses In Society Greek mousa is a common noun as well as a type of goddess: it literally means "art" or "poetry". In Pindar, to "carry a mousa" is "to excel in the arts". The word probably derives from the Indo-European root men-, which is also the source of Greek Mnemosyne, English "mind", "mental" and "memory" and Sanskrit "mantra".

The Muses, therefore, were both the embodiments and sponsors of performed metrical speech: mousike (whence the English term "music") was just "one of the arts of the Muses". Others included Science, Geography, Mathematics, Philosophy, and especially Art, Drama, and inspiration. In the archaic period, before the widespread availability of books (scrolls), this included nearly all of learning. The first Greek book on astronomy, by Thales, took the form of dactylic hexameters, as did many works of pre-Socratic philosophy; both Plato and the Pythagoreans explicitly included philosophy as a sub-species of mousike. The Histories of Herodotus, whose primary medium of delivery was public recitation, were divided by Alexandrian editors into nine books, named after the nine Muses. For poet and "law-giver" Solon, the Muses were "the key to the good life"; since they brought both prosperity and friendship. Solon sought to perpetuate his political reforms by establishing recitations of his poetry — complete with invocations to his practical-minded Muses — by Athenian boys at festivals each year.

It was believed that the muses would help inspire people to do their best. Muses In Literature Some authors invoke Muses when writing poetry, hymns, or epic history. The invocation typically occurs at or near the beginning, and calls for help or inspiration, or simply invites the Muse to sing through the author. Some prose authors also call on the aid of Muses, who are called as the true speaker for whom an author is merely a mouthpiece. Originally, the invocation of the Muse was an indication that the speaker was working inside the poetic tradition, according to the established formulas. For example: Book 1 of Paradise Lost: Of Man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the World, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful Seat, Sing, Heavenly Muse, [...] In modern English usage, muse (non capitalized but deriving from the classical Muses) can refer in general to a person who inspires an artist, writer, or musician.

From cults of the Muses to modern museums When Pythagoras arrived at Croton, his first advice to the Crotoniates was to build a shrine to the Muses at the center of the city, to promote civic harmony and learning. Local cults of the Muses often became associated with springs or with fountains. The Muses themselves were sometimes called Aganippids because of their association with a fountain called Aganippe. Other fountains, Hippocrene and Pirene, were also important locations associated with the Muses. Some sources occasionally referred to the Muses as "Corycides" (or "Corycian nymphs") after a cave on Mount Parnassos, called the Corycian Cave. The Muses were venerated especially in Boeotia, in the Valley of the Muses near Helicon, and in Delphi and the Parnassus, where Apollo became known as Mousagetes ("Muse-leader") after the sites were rededicated to his cult.

Often Muse-worship was associated with the hero-cults of poets: the tombs of Archilochus on Thasos and of Hesiod and Thamyris in Boeotia all played host to festivals in which poetic recitations accompanied sacrifices to the Muses. The Library of Alexandria and its circle of scholars formed around a mousaion ("museum" or shrine of the Muses) close to the tomb of Alexander the Great. Many Enlightenment figures sought to re-establish a "Cult of the Muses" in the 18th century. A famous Masonic lodge in pre-Revolutionary Paris was called Les Neuf Soeurs ("the nine sisters", that is, the nine Muses) - Voltaire, Benjamin Franklin, Danton, and other influential Enlightenment figures attended it. As a side-effect of this movement the word "museum" (originally, "cult place of the Muses") came to refer to a place for the public display of knowledge. The Muse-poet The British poet Robert Graves popularized the concept of the Muse-poet in modern times.

His concept was based on pre-12th century traditions of the Celtic poets, the tradition of the medieval troubadours who celebrated the concept of courtly love, and the romantic poets. No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident; just as no Apollonian poet can perform his proper function unless he lives under a monarchy or a quasi-monarchy. A Muse-poet falls in love, absolutely, and his true love is for him the embodiment of the Muse... But the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom, and love of woman, and the individual woman whom the Goddess may make her instrument... The Goddess abides; and perhaps he will again have knowledge of her through his experience of another woman... The "10th Muse" The archaic poet Sappho of Lesbos was given the compliment of being called "the tenth Muse" by Plato. The phrase has become a somewhat conventional compliment paid to female poets since.

In Callimachus' "Aetia", the poet refers to Queen Berenike, wife of Ptolemy II, as a "Tenth Muse", dedicating both the "Coma Berenikes" and the "Victoria Berenikes" in Books III–IV. French critics have acclaimed a series of dixième Muses who were noted by William Rose Benet in The Reader's Encyclopedia (1948): Marie Lejars de Gournay (1566–1645), Antoinette Deshoulières (1633–1694), Madeleine de Scudéry (1607–1701), and Delphine Gay (1804–1855). Anne Bradstreet, a Puritan poet of New England, was honored with this title after the publication of her poems in London in 1650, in a volume titled by the publisher as The Tenth Muse Lately Sprung Up in America. This was also the first volume of American poetry ever published. Sor Juana Inés de la Cruz, a Mexican poet, is well known in the Spanish literary world as the tenth Muse.

Gabriele d'Annunzio's 1920 Constitution for the Free State of Fiume was based on the nine Muses and invoked Energeia (energy) as "the tenth Muse". In 1924, Karol Irzykowski published a monograph on cinematography entitled "The Tenth Muse" ("Dziesiąta muza"). Analyzing silent film, he pronounced his definition of cinema: "It is the visibility of man's interaction with reality". In The Tenth Muse: A historical study of the opera libretto Patrick J. Smith implicitly suggests that the libretto be considered as the tenth muse. The claim, if made explicit, is that the relation of word and music as constituted by the libretto is not only of significant import, but that the critical appreciation of that relation constitutes a crucial element in the understanding of opera.

CALLIOPE (Kalliope) - Greek Goddess Muse of Epic Poetry Beautiful-Voiced Muse Calliope, Greco-Roman marble statue C2nd A.D., State Hermitage Museum KALLIOPE (Calliope) was the eldest of the Mousai (Muses), the goddesses of music, song and dance. She was also the goddess of eloquence, who bestowed her gift on kings and princes. In the Classical era, when the Muses were assigned specific artistic spheres, Kalliope was named Muse of epic poetry. In this guise she was portrayed holding a tablet and stylus or a scroll. In older art she holds a lyre. Kalliope was the mother of the bard Orpheus. When her son was dismembered by the Bakkhantes (Bacchantes), she recovered his head and enshrined on the island of Lesbos. Her name means "beautiful-voiced" from the Greek words kallos and ops.

FAMILY OF CALLIOPE [1.1] ZEUS & MNEMOSYNE (Hesiod Theogony 75, Apollodorus 1.13, Diodorus Siculus 4.7.1, Orphic Hymn 76) [1.2] ZEUS (Alcman Frag, Hyginus Astronomica 2.7) OFFSPRING [1.1] ORPHEUS, LINOS (by Apollon ) (Apollodorus 1.15) [1.2] ) ORPHEUS (by Oiagros) (Pindar Dirges Frag 139, Bacchylides Frag 28, Apollodorus 1.15, Apollonius Rhodius 1.24, Hyginus Fabulae 14, Nonnus Dionysiaca 13.430) [1.3] ORPHEUS (Terpander Frag 15, Timotheus Frag 791, Pausanias 9.30.1, Philostratus Younger 11, Call

istratus 7) [1.3] IALMENOS (Pindar Dirges Frag 139) [1.4] LINOS (Suidas s.v.

Ailinos) [2.1] RHESOS (by Strymon ) (Apollodorus 1.18) [3.1] THE KORYBANTES (by Zeus ) (Strabo 10.3.19) CLASSICAL LITERATURE QUOTES PARENTAGE OF CALLIOPE Hesiod, Theogony 75 ff (trans. Evelyn-White) (Greek epic C8th or C7th B.C.) : "The Mousai (Muses) sang who dwell on Olympos, nine daughters begotten by great Zeus, Kleio (Clio) and Euterpe, Thaleia (Thalia), Melpomene and Terpsikhore (Terpsichore), and Erato and Polymnia (Polyhymnia) and Ourania (Urania) and Kalliope (Calliope)." Pseudo-Apollodorus, Bibliotheca 1. 13 (trans.

Aldrich) (Greek mythographer C2nd A.D.) : "Mnemosyne [bore to Zeus] the Mousai (Muses), the eldest of whom was Kalliope (Calliope), followed by Kleio (Clio), Melpomene, Euterpe, Erato, Terpsikhore (Terpsichore), Ourania (Urania), Thaleia (Thalia), and Polymnia." Orphic Hymn 76 to the Muses (trans. Taylor) (Greek hymns C3rd B.C. to 2nd A.D.) : "Daughters of Mnemosyne and Zeus . . .

Kleio (Clio), and Erato who charms the sight, with thee, Euterpe, ministering delight : Thalia flourishing, Polymnia famed, Melpomene from skill in music named : Terpsikhore (Terpsichore), Ourania (Urania) heavenly bright." CALLIOPE & HER SON ORPHEUS Muse Calliope, Athenian red-figure pyxis C5th B.C., Museum of Fine Arts Boston Homerica, Of the Origin of Homer & Hesiod & of their Contest, Fragment 1 (trans. Evelyn-White) (Greek epic B.C.) : "And from Oiagros (Oeagrus) and Kalliope (Calliope) [was born] Orpheus." Pindar, Dirges Fragment 139 (trans. Sandys) (Greek lyric C5th B.C.) : "The son of Oiagros (Oeagrus) [and Kalliope (Calloipe)], Orpheus of the golden sword." Terpander, Fragment 15 (from Timotheus, the Persians) (trans. Campbell, Vol.

Greek Lyric II) (Greek lyric C7th B.C.) : "Orpheus of the intricate music, son of Kalliope (Calliope)." Bacchylides, Fragment 28 (trans. Campbell, Vol. Greek Lyric IV) (Greek lyric C5th B.C.) : "[Orpheus] the renowned son of Oiagros (Oeagrus) . . . child of the lovely-haired Mousa (Muse)." Timotheus, Fragment 791 (trans. Campbell, Vol. Greek Lyric V) (Greek lyric C5th B.C.) : "Orpheus, Kalliope's (Calliope's) son, he of the intricate muse, was the first to beget the tortoise-shell lyre in Pieria." Aeschylus, Bassarae or Bassarides (lost play) (Greek tragedy C5th B.C.) : Aeschylus' lost play Bassarae described the death of Orpheus, son of Kalliope (Calliope).

Weir Smyth (L.C.L.) summarises evidence for the plot : "Eratosthenes, Catasterismoi, says of Orpheus that he paid no honour to Dionysos, but considered Helios (the Sun) to be the greatest of the gods and addressed him as Apollon; that, by making haste during the night, he reached at dawn the summit of Mt. Pangaios (Pangaeus), and waited there that he might see the rising of the sun; and that Dionysos, in his wrath, sent against him the Bassarides (as Aeschylus tells the story), who tore him to pieces and scattered his members, which were collected and buried by the Mousai (Muses) in Leibethra." Presumably Kalliope appeared towards the end of the play lamenting her son. Plato, The Republic 364d (trans.

Shorey) (Greek philosopher C4th B.C.) : "The [mystic] books of Musaios (Musaeus) and Orpheus, the offspring of Selene (Moon) and of the Mousa (Muse), as they affirm." [N.B. Both were mythic poets of the Orphic mysteries.] Pseudo-Apollodorus, Bibliotheca 1. 14 (trans. Aldrich) (Greek mythographer C2nd A.D.) : "Kalliope (Calliope) and Oiagros (Oeagrus), though nominally it was Apollon, had as sons Linos (Linus), whom Herakles (Heracles) slew, and Orpheus, a professional citharist whose singing caused stones and trees to move." Muse Calliope on Helicon, Athenian red-figure lekythos C5th B.C., Staatliche Antikensammlungen Apollonius Rhodius, Argonautica 1. 24 ff (trans.

Rieu) (Greek epic C3rd B.C.) : "Orpheus, borne, so the story goes, by Kalliope (Calliope) herself to her Thrakian (Thracian) lover Oiagros (Oeagrus) near the heights of Pimplea. They say that with the music of his voice he enchanted stubborn mountain rocks and rushing streams." Pausanias, Description of Greece 9. 30. 1 (trans. Jones) (Greek travelogue C2nd A.D.) : "[In the sanctuary of the Mousai (Muses) on Mount Helikon (Helicon) in Boiotia (Boeotia) :] The first images of the Mousai (Muses) are of them all, from the hand of Kephisodotos (Cephisodotus), while a little farther on are three, also from the hand of Kephisodotos, and three more by Strongylion . . . the remaining three were made by Olympiosthenes . . . by the side of Orpheus stands a statue of Telete, and around him are beasts of stone and bronze listening to his singing . . .

Orpheus was a son of the Mousa Kalliope (Muse Calliope) . . . the beasts followed him fascinated by his songs, and that he went down alive to Haides to ask for his wife from the gods below." Quintus Smyrnaeus, Fall of Troy 3. 631 ff (trans. Way) (Greek epic C4th A.D.) : "[The Mousai (Muses) came to sing the dirge at the funeral of Akhilleus (Achilles) :] To Thetis spake Kalliope (Calliope), she in whose heart was steadfast wisdom throned : ‘From lamentation, Thetis, now forbear, and do not, in the frenzy of thy grief for thy lost son, provoke to wrath the Lord of Gods and men. Lo, even sons of Zeus, the Thunder-king, have perished, overborne by evil fate.

Immortal though I be, mine own son Orpheus died, whose magic song drew all the forest-trees to follow him, and every craggy rock and river-stream, and blasts of winds shrill-piping stormy-breathed, and birds that dart through air on rushing wings. yet I endured mine heavy sorrow : Gods ought not with anguished grief to vex their souls. Therefore make end of sorrow-stricken wail for thy brave child; for to the sons of earth minstrels shall chant his glory and his might, by mine and by my sisters' inspiration, unto the end of time. Let not thy soul be crushed by dark grief, nor do thou lament like those frail mortal women. Know'st thou not that round all men which dwell upon the earth hovereth irresistible deadly Aisa (Aesa, Fate), who recks not even of the Gods? Such power she only hath for heritage. Yea, she soon shall destroy gold-wealthy Priamos' (Priam's) town, and Trojans many and Argives doom to death, whomso she will.

No God can stay her hand.’ So in her wisdom spake Kalliope." Philostratus the Younger, Imagines 6 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : "That Orpheus, the son of the Mousa (Muse) [i.e. Kalliope (Calliope)], charmed by his music even creatures that have not the intelligence of man, all the writers of myth agree." Philostratus the Younger, Imagines 11 : "The man with erect tiara who sings in tune with the notes of his lyre . . . it is Orpheus, son of Kalliope (Callipe)." Callistratus, Descriptions 7 (trans.

Fairbanks) (Greek rhetorician C4th A.D.) : "On Helikon (Helicon)--the spot is a shaded precinct sacred to the Mousai (Muses)--near the torrent of the river Olmeios and the violet-dark spring of Pegasos (Pegasus), there stood beside the [statues of the] Mousai (Muses) a statue of Orpheus, the son of Kalliope (Calliope), a statue most beautiful to look upon . . . He was carrying the lyre, which was equipped with as many notes as the number of the Mousai." Pseudo-Hyginus, Fabulae 14 (trans. Grant) (Roman mythographer C2nd A.D.) : "Orpheus son of Oeagrus and the Muse Calliope, from Thrace." Pseudo-Hyginus, Astronomica 2. 7 : "[Constellation] Lyre. The Lyre was put among the constellations for the following reason, as Eratosthenes [Greek writer C3rd B.C.] says . . .

Orpheus, son of Calliope and Oeagrus, who was passionately devoted to music. It is thought that by his skill he could charm even wild beasts to listen . . . When Orpheus was taking delight in song, seated, as many say, on Mount Olympus . . . Liber [Dionysos] is said to have roused the Bacchanals against him. They slew him and dismembered his body. But others say that this happened because he had looked on the rites of Liber. The Musae gathered the scattered limbs and gave them burial, and as the greatest favour they could confer, they put as a memorial his lyre, pictures with stars, among the constellations. Apollo and Jove [Zeus] consented, for Orpheus had praised Apollo highly, and Jupiter [Zeus] granted this favour to his daughter." Pseudo-Hyginus, Astronomica 2. 7 : "Some also have said that Venus [Aphrodite] and Proserpina [Persephone] came to Jove [Zeus] for his decision, asking him to which of them he would grant Adonis.

Calliope, the judge appointed by Jove, decided that each should posses him half of the year. But Venus [Aphrodite], angry because she had not been granted what she thought was her right, stirred the women in Thrace by love, each to seek Orpheus for herself, so that they tore him limb from limb. His head, carried down from the mountain into the sea, was cast by the waves upon the island of Lesbos. It was taken up and buried by the people of Lesbos, and in return for this kindness, they have the reputation of being exceedingly skilled in the art of music. The lyre, as we have said, was put by the Muses among the stars." Apollo and Muse Calliope, Athenian red-figure kylix C5th B.C., Museum of Fine Arts Boston Propertius, Elegies 2. 308 ff (trans.

Goold) (Roman elegy C1st B.C.) : "Nor need you address the maiden Musae (Muses) with awestruck lips : their company also knows what it means to love, if after all it is true that one of them [Kalliope (Calliope)] upon the rocks of Bistonia was once ravished by the semblance of Oeagrus." Cicero, De Natura Deorum 3. 18 (trans. Rackham) (Roman rhetorician C1st B.C.) : "What about the sons of goddesses? . . . [such as] Orpheus . . . whose mother was a Musa (Muse)." Seneca, Medea 625 ff (trans. Miller) (Roman tragedy C1st A.D.) : "That son [Orpheus] of the tuneful Camena [Muse], at whose sweet melodies the swift stream stood still and the winds were hushed, when the bird, leaving off its own singing, came near him, the whole wood following after." Statius, Silvae 2. 7. 36 (trans.

Mozley) (Roman poetry C1st A.D.) : "Calliope took him [a new-born poet] to her loving bosom. Then first did she lay aside her grief and cease her long lament for Orpheus, and said : ‘O boy, consecrate to poesy, soon destined to outmatch the bards of old, [but] thou shalt move no rivers or wild herds of Thracian ash-trees with thy music [as Orpheus did].’" Statius, Silvae 5. 3. 15 : "Their [the Muses'] queen herself sinks her head upon the silent lyre, as when after Orpheus' loss she halted by thy stream O Hebrus, and gazed at the troops of beasts that listened no more, and the woods that moved not since the strains were gone." Nonnus, Dionysiaca 13. 430 ff (trans.

Rouse) (Greek epic C5th A.D.) : "He [Oiagros (Oeagrus)] left Orpheus on Kalliopeia's (Calliope's) knees, a little one interested in his mother's milk, still a new thing." Nonnus, Dionysiaca 22. 187 ff : "Oiagros (Oeagrus) . . . doing deeds that needed Kalliopeia (Calliope) his consort, to tell them." Nonnus, Dionysiaca 22. 322 ff : "His [Oiagros'] bride Kalliopeia (Calliope), mother of a noble son [Orpheus]." Nonnus, Dionysiaca 24. 77 ff : "[When the Indian River Hydaspes tried to drown him and the army of Dionysos :] Kalliope (Calliope) lifted Oiagros (Oeagrus) upon her shoulders." OTHER CHILDREN OF CALLIOPE Pindar, Dirges Fragment 139 (trans.

Sandys) (Greek lyric C5th B.C.) : "But in another song did three goddesses [Mousai (Muses)] lull to rest the bodies of their sons . . . the third [Kalliope (Calliope)] sorrowed over Ialmenos (Ialmenus) [personification of the dirge], when his strength was stayed by the onset of a raging malady. But the son of Oiagros (Oeagrus) [and Kalliope (Calliope)], Orpheus of the golden sword." Pseudo-Apollodorus, Bibliotheca 1. 18 (trans. Aldrich) (Greek mythographer C2nd A.D.) : "Euterpe, or Kalliope (Calliope), according to some, bore to the river Strymon Rhesos (Rhesus), whom Diomedes murdered at Troy." Strabo, Geography 10. 3. 19 (trans. Jones) (Greek geographer C1st B.C.

to C1st A.D.) : "Others say that the Korybantes (Corybantes) [of Samothrake (Samothrace)] were sons of Zeus and Kalliope (Calliope) and were identical with the Kabeiroi (Cabiri), and that these went off to Samothrake, which in earlier times was called Melite, and that their rites were mystical." Suidas s.v. Ailinos (trans. Suda On Line) (Byzantine Greek lexicon C10th A.D.) : "Ailinon (mournful, plaintive) : It is [used] equally to refer to a dirge and to refer to a hymn; from Ailinos (Aiilinus) the [son] of Kalliope (Calliope)." CALLIOPE GODDESS OF EPIC POETRY & ELOQUENCE Muse Calliope and Apollo, Athenian red-figure kylix C5th B.C., Victoria and Albert Museum Hesiod, Theogony 75 ff (trans.

Evelyn-White) (Greek epic C8th or C7th B.C.) : "Kalliope (Calliope), who is the chiefest of them all [the Mousai (Muses)], for she attends on worshipful princes: whomsoever of heaven-nourished princes the daughters of great Zeus honour, and behold him at his birth, they pour sweet dew upon his tongue, and from his lips flow gracious words. All the people look towards him while he settles causes with true judgements: and he, speaking surely, would soon make wise end even of a great quarrel; for therefore are there princes wise in heart, because when the people are being misguided in their assembly, they set right the matter again with ease, persuading them with gentle words. And when he passes through a gathering, they greet him as a god with gentle reverence, and he is conspicuous amongst the assembled: such is the holy gift of the Mousai (Muses) to men." Alcman, Fragment (trans. Campbell, Vol.

Greek Lyric II) (Greek lyric C7th B.C.) : "Come Moisa (Muse), Kalliope (Calliope), daughter of Zeus, begin the lovely verses; set desire on the song and make the choral dance graceful." Stesichorus, Fragment 240 (trans. Campbell, Vol. Greek Lyric III) (C7th to 6th B.C.) : "Come hither, clear-voiced Kallopeia (Calliope)." Stesichorus, Fragment 275 : "Excellent Kalliope (Calliope), admired for your poetry and songs." Bacchylides, Fragment 5 (trans. Campbell, Vol. Greek Lyric IV) (Greek lyric C5th B.C.) : "White-armed Kalliope (Calliope), halt your well-made chariot here: sing in praise of . .

." Bacchylides, Fragment 19 : "Countless paths of ambrosial verses lie open for him who obtains gifts from the Pierian Mousai (Muses) and whose songs are clothed with honour by the violet-eyed maidens, the garland-bearing Kharites (Charites, Graces). Weave, then, in lovely blessed Athens a new fabric, renowned Kean (Cean) fantasy: you must travel by the finest road, since you have obtained from Kalliope (Calliope) a surpulative prize." Plato, Phaedrus 259 (trans. Fowler) (Greek philosopher C4th B.C.) : "When they [the grasshoppers] die they go and inform the Mousai (Muses) in heaven who honours them on earth. They win the love of Terpsikhore (Terpsichore) for the dancers by their report of them; . . .

of Kalliope (Calliope) the eldest Mousa (Muse) and of Ourania (Urania) who is next to her, for the philosophers, of whose music the grasshoppers make report to them; for these are the Mousai who are chiefly concerned with heaven and thought, divine as well as human, and they have the sweetest utterance." Diodorus Siculus, Library of History 4. 7. 1 (trans.

Oldfather) (Greek historian C1st B.C.) : "Hesiod even gives their [the Mousai's (Muses')] names when he writes: ‘Kleio (Clio), Euterpe, and Thaleia, Melpomene, Terpsikhore (Terpsichore) and Erato, and Polymnia, Ourania (Urania), Kalliope (Calliope) too, of them all the most comely.’ To each of the Mousai (Muses) men assign her special aptitude for one of the branches of the liberal arts, such as poetry, song, pantomimic dancing, the round dance with music, the study of the stars, and the other liberal arts . . . For the name of each Mousa (Muse), they say, men have found a reason appropriate to her . . . Kalliope (Calliope), because of her beautiful (kale) voice (ops), that is, by reason of the exceeding beauty of her language she wins the approbation of her auditors." Philostratus the Younger, Imagines 13 (trans.

Fairbanks) (Greek rhetorician C3rd A.D.) : "The gifts of the gods are not to be rejected, as you no doubt know, since you have heard it from one of the devotees of Kalliope (Calliope) [i.e. the epic poets]." Ovid, Fasti 5. 79 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : "Then with ivy twining her neglected hair, Calliope began [the song], first of her group . . . She, too, had ended; her faction roared their support. What to do? All the parties are equal. May the Pierides [Muses] smile on me equally, and I extol none of them more or less." Propertius, Elegies 3. 3 (trans. Goold) (Roman elegy C1st B.C.) : "The nine Maidens [Muses], each allotted her own realm, busy their tender hands on their separate gifts . . .

Then from their number one of the goddesses laid her hand on me (by her looks I think it was Calliope) : ‘You will always be happy to ride on snow-white swans; no galloping hooves of the war-horse will call you to arms. Be it no concern of yours to sound the martial summons on the blaring trumpet or stain with bloody warfare the groves of Helicon . . . For you will sing of garlanded lovers at another's threshold and the tipsy tokens of midnight vigil, so that he who would artfully outwit stern husbands may learns from you how to charm forth a locked-up woman.’ Thus Calliope, and taking water from the spring she moistened my lips with draughts [from the spring of Hippokrene (Hippocrene) on Mount Helikon] that once Philitas drank." Propertius, Elegies 3. 2 : "The Musae (Muses) are my friends, my poems are dear to the reader, and Calliope never wearies of dancing to my rhythms." Propertius, Elegies 4.

6 : "I shall tell, O Musa (Muse), of Apollo's temple on the Palatine : Calliope, the theme is worthy of your favour. My songs are sung for Caesar's glory: while Caesar is being sung, do even you pray attend, Jupiter [Zeus]!" Statius, Thebaid 4. 32 ff (trans. Mozley) (Roman epic C1st A.D.) : "Thou, Calliope, queen of the groves of song, uplift thy lyre and begin the tale." Statius, Silvae 2. 7. 36 (trans. Mozley) (Roman poetry C1st A.D.) : "Straightway, while yet a new-born babe he [the poet] drawled and with earliest accents sweetly whimpered, Calliope took him to her loving bosom.

Then first did she lay aside her grief and cease her long lament for Orpheus, and said: ‘O boy, consecrate to poesy, soon destined to outmatch the bards of old, thou shalt move no rivers or wild herds of Thracian ash-trees with thy music, but with eloquent son shalt draw after thee the seven hills of Martian Tiber [Rome].’" ANCIENT GREEK & ROMAN ART

Question: Clio, typically holding a scroll, is the ancient Greek muse of?
Answer: History