Mitología griega >> Dioses griegos >> Dioses del Olimpo >> Erotes [> 19459004] > Eros
Traducción
Amor, deseo sexual
Eros tocando la flauta, lekythos ateniense de figura roja C5th BC, Museo de Bellas Artes de Boston EROS era el dios travieso del amor, un súbdito y constante compañero del diosa Afrodita .
El poeta Hesíodo lo representa por primera vez como una deidad primordial que emerge al principio de su propio nacimiento para estimular la procreación. (Consulte Protogenos Eros y Phanes para obtener más información).
El mismo poeta más tarde describe a dos dioses del amor, Eros y Himeros (Deseo), que acompaña a Afrodita en el momento de su nacimiento de la espuma del mar. Algunos escritores clásicos interpretaron que esto significaba que la pareja nació de la diosa inmediatamente después de su nacimiento o, a su lado, de la espuma del mar. La escena fue particularmente popular en el arte antiguo, donde los diosas revolotean sobre la diosa mientras se reclina dentro de una caracola.
Finalmente, Eros fue multiplicado por antiguos poetas y artistas en una gran cantidad de Erotes (Cupidos romanos).
El singular Eros, sin embargo, permaneció distinto en el mito. Fue él quien encendió la llama del amor en los corazones de los dioses y los hombres, armados con un arco y flechas o una antorcha encendida. Eros fue retratado a menudo como el hijo desobediente pero ferozmente leal de Afrodita.
En la pintura de jarrón antiguo, Eros es representado como un joven o niño guapo. Sus atributos eran variados, desde el arco y las flechas habituales hasta los regalos de un amante, como una liebre, una faja o una flor. Los escultores preferían la imagen del niño armado con arco, mientras que los artistas del mosaico favorecían la figura de un putto alado (bebé regordete).
FAMILIA DE EROS
PADRES
[1.1] AFRODITA (Ibycus Frag 284, Anacreontea Frag 44, Apollonius Rhodius 3.82, Pausanias 9.27.1, Plato Phaedrus, Philostratus Younger 8, Oppian Halieutica 4.10, Hyginus Astronom, Ovidio Astronomía Metamorfosis 1.452 y 5.363, Séneca Phaedra 274, Statius Silvae 1.2.51, Apuleius 11.218, Nonnus Dionysiaca 4.238 y 33.4) [1.2] ARES y APHRODITE [194500945 [194590] ] (Ibycus Frag 575, Nonnus Dionysiaca 5.88) [1.3] OURANOS y APHRODITE (ella nació embarazada de Eros de los genitales de Ouranos) (posiblemente Hesiod Theogony 176, Sappho Frag 198, Nonnus Dionysiaca 33.4 y 41.128) [2.1] OURANOS y GAIA (Sappho Frag005) [ ] [3.1] ZEPHRYOS y IRIS (Alcaeus Fr ag 327) [4.1] EILEITHYIA (Pausanias 9.27.1) [5.1] POROS y PENIA [ 19459004] (Simposio de Platón 178)
DESPLAZAMIENTO
[1.1] HEDONE (por Psykhe ) (Apuleius 6.24)
ENCICLOPEDIA
EROS (Erôs), en latín, AMOR o CUPI′DO, el dios del amor. En el sentido en que suele ser concebido, Eros es la criatura de los poetas griegos posteriores; y para comprender correctamente a los antiguos debemos distinguir tres Erotes: a saber. el eros de las antiguas cosmogonías, el eros de los filósofos y misterios, que se parece mucho al primero, y el eros con el que nos encontramos en los poetas epigramáticos y eróticos, cuyas ingeniosas y juguetonas descripciones del dios, sin embargo, apenas pueden ser considerado como parte de la antigua creencia religiosa de los griegos. Homero no menciona a Eros, y Hesíodo, el primer autor que lo menciona, lo describe como el eros cosmogónico. Primero, dice Hesíodo ( Theog. 120, etc.), hubo Caos, luego vinieron Ge, Tártaro y Eros, el más justo entre los dioses, que gobierna las mentes y el consejo de dioses y hombres. . En este relato ya percibimos una combinación de lo más antiguo con nociones posteriores.
Según el primero, Eros fue una de las causas fundamentales en la formación del mundo, en la medida en que era el poder unificador del amor, que trajo orden y armonía entre los elementos conflictivos en los que consistía el Caos. En el mismo sentido metafísico, Aristóteles lo concibe ( Metaph. i. 4); y de manera similar en la poesía órfica (Orph. Himno. 5; comp. Aristoph. Av. 695) se lo describe como el primero de los dioses, que surgió del huevo del mundo. En el Simposio de Platón (p. 178, b) también se le llama el más antiguo de los dioses. Está bastante de acuerdo con la noción del Eros cosmogónico, que se lo describe como un hijo de Cronos y Ge, de Eileithyia, o como un dios que no tenía ascendencia, y que llegó a existir por sí mismo. (Paus. Ix. C. 27.) El Eros de los poetas posteriores, por otro lado, que dio origen a la noción del dios que nos es más familiar, es uno de los más jóvenes de todos los dioses. (Paus. lc; Cic. de Nat. Deor. iii. 23.) La paternidad del segundo Eros se describe de manera muy diferente, ya que se le llama un hijo de Afrodita (ya sea Afrodita Urania o Afrodita Pandemos), o Polymnia, o un hijo de Porus y Penia, que fue engendrado en el cumpleaños de Afrodita. (Plat. lc; Sext. Emp. adv. Math. i. 540.) Según otras genealogías, de nuevo, Eros era hijo de Hermes por Artemisa o Afrodita, o de Ares de Afrodita (Cic. de Nat. Deor. iii. 23), o de Zephyrus e Iris (Plut. Amal. 20; Eustath. ad Hom. [19459029 ] p. 555), o, por último, un hijo de Zeus de su propia hija Afrodita, de modo que Zeus fue a la vez su padre y abuelo. (Virg. Cir. 134.) Eros en esta etapa siempre se concibió y siempre fue representado como un joven apuesto, y no es hasta después de la época de Alejandro Magno que Eros es representado por los epigramamáticos. y los poetas eróticos como un niño sin sentido, de los cuales se relacionan mil trucos y deportes crueles, y de quienes ni los dioses ni los hombres estaban a salvo. Generalmente se lo describe como un hijo de Afrodita; pero a medida que el amor llega a los corazones de los hombres de una manera que nadie sabe, los poetas a veces lo describen como de origen desconocido (Theocrit. xiii. 2), o dicen que realmente tuvo una madre, pero no un padre. . (Meleagr. Epigr. 50.) En esta etapa, Eros no tiene nada que ver con la unión de los elementos discordantes del universo, o la mayor simpatía o amor que une a la humanidad; pero él es puramente el dios del amor sensual, que domina a los habitantes del Olimpo, así como a los hombres y a todas las criaturas vivientes: domestica leones y tigres, rompe los rayos de Zeus, priva a Heracles de sus brazos y continúa con sus brazos. deporte con los monstruos del mar. (Orph. Himno. 57; Virg. Eclog. x. 29; Mosch. Idyll. vi. 10; Theocrit. Iii. 15.) Sus brazos , que consta de flechas, que lleva en un carcaj dorado, y de antorchas, nadie puede tocar con impunidad. (Mosch. Idyll. vi .; Theocrit. Xxiii. 4; Ov. Trist. v. 1, 22.) Sus flechas son de diferente poder: algunas son doradas y se encienden amor en el corazón que hieren; otros son contundentes y pesados con plomo, y producen aversión a un amante. (Ov. Met. i. 468; Eurip. Iphig. Aul. 548.) Eros se representa además con alas doradas, y revoloteando como un pájaro. (Comp. Eustath. ad Hom. p. 987.) A veces tiene los ojos tapados, por lo que actúa a ciegas. (Theocrit. X. 20.) Es el compañero habitual de Afrodita de su madre, y los poetas y artistas lo representan, además, acompañado de seres alegóricos como Pothos, Himeros, Dioniso, Tyche, Peitho, los Charites o las Musas. (Pind. Ol. i. 41; Anacr. Xxxiii. 8; Hesiod, Theog. 201; Paus. Vi. 24. § 5, vii. 26. § 3, i 43. §6.) Su estatua y la de Hermes solían estar en la gimnasia griega. (Aten. Xiii. P. 551; Eustath. ad Hom. p. 1596.)
Debemos notar especialmente la conexión de Eros con Anteros, con la cual las personas generalmente conectan la noción de «Amor devuelto». Pero originalmente Anteros era un ser opuesto a Eros y luchaba contra él. (Paus. I. 30. § 1, vi. 23. § 4.) Sin embargo, este conflicto también se concibió como la rivalidad existente entre dos amantes, y Anteros castigó en consecuencia a quienes no devolvieron el amor de los demás; para que él sea el Eros vengador, o un deus ultor. (Paus. I. 30. § 1; Ov. Met. xiii. 750, y c .; Plat. Phaedr. p. 255, d.) El número de Erotes (Amores y Cupidines) se extiende juguetonamente ad libitum por poetas posteriores, y estos Erotes se describen como hijos de Afrodita o de ninfas. Entre los lugares que se distinguen por su adoración a Eros, Thespiae en Beocia destaca: allí su adoración era muy antigua, y la antigua representación del dios era una piedra grosera (Paus. Ix. 27. § 1), a lo que en tiempos posteriores Sin embargo, se agregaron las obras de arte más exquisitas. (Eustath. ad Hom. p. 266.) En Thespiae se celebró un festival quinquenal, el Erotidia o Erotia, en honor del dios. (Paus. l. C .; Athen. Xiii. P. 561.) Además de Sparta, Samos y Parion en el Hellespont, también fue adorado en Atenas, donde tenía un altar a la entrada de la Academia. (Paus. I. 30. § 1.) En Megara, su estatua, junto con las de Himeros y Pothos, se encontraba en el templo de Afrodita. (Paus. I. 43. § 6, comp. Iii. 26. § 3, vi. 24. § 5, vii. 26. § 3.) Entre las cosas sagradas para Eros, y que frecuentemente aparecen con él en obras de arte, podemos mencionar la rosa, las bestias salvajes que son domesticadas por él, la liebre, el gallo y el carnero. Eros era un tema favorito de las antiguas estatuas, pero su representación parece haber sido perfeccionada por Praxiteles, quien lo concibió como un joven adulto de la belleza más perfecta. (Lucian, Am. ii. 17; Plin. H. N. xxxvi. 4, 5.) En épocas posteriores, los artistas siguieron el ejemplo de los poetas y lo representaron como un niño pequeño.
Fuente: Diccionario de biografía y mitología griega y romana.
Citas de literatura clásica
PADRES DE EROS
Eros persiguiendo ciervos, Apkan figura roja lekanis C4th B.C., Museo Metropolitano de Arte I. GENEALOGÍAS ALTERNATIVAS
Scholiast en Apolonio de Rodas (trad. Campbell, Vol. Griego Lyric III Ibycus Frag 324) (Escolia griega): «Apollonios (Apolonio) [poeta griego C3rd BC] hace que Eros sea un niño de Afrodita, Safo [poeta griego C6th BC] lo hace hijo de Ge (Gea, Tierra) y Ouranos (Urano, Cielo), Simonides [poeta griego C6th-5th BC] hijo de Afrodita y Ares, Ibykos (Ibycus) [poeta C6th BC]. ((Lacuna)), y Hesíodo [poeta griego C8th-7th BC] dice que Eros vino de Khaos (Caos) «.
Scholiast en Theocritus (trad. Campbell, Vol. Griego Lyric I Sappho, Fragment 198) (Scholia griego): «Alkaios (Alcaeus) [poeta griego C6th BC] dijo que Eros era el hijo de Iris (Rainbow) y Zephyros (West Wind); Safo [poeta griego C6º aC] lo convirtió en hijo de Afrodita y Urano (Urano, cielo) «.
Pausanias, Descripción de Grecia 9. 27. 1 (trans. Jones) (cuaderno de viaje griego C2nd AD): «La mayoría de los hombres consideran a Eros como el más joven de los dioses y el hijo de Afrodita. Pero Olen the Lykian (licio) [legendario poeta griego] que compuso los himnos griegos más antiguos, dice en un himno a Eileithyia que ella era la madre de Eros. Más tarde que Olen, tanto Pamphos como Orpheus [legendarios poetas griegos] escribieron hexámetros verso y poemas compuestos sobre Eros, para que puedan estar entre los cantados por los Lykomidai (Lycomidae) para acompañar el ritual. Los leí después de conversar con un Portador de la Antorcha. De estas cosas no haré más mención. Hesíodo, o el que escribió la Teogonía engendrado en Hesíodo, escribe, lo sé, que Khaos (Caos) nació primero, y después de Khaos, Ge (Gea, Tierra), Tartaros (Tartarus) y Eros. Safo de Lesbos escribió muchos poemas sobre Eros, pero no son consistentes «.
II. HIJO DE AFRODITA
Hesíodo, Teogonía 176 y sigs. (Trad. Evelyn-White) (épica griega C8th o 7th BC): «Eros (Amor) y Himeros (Deseo) y su hermosa Afrodita la siguieron [Afrodita] en su nacimiento al principio y cuando entró en la asamblea de los dioses «. [Hesíodo puede estar sugiriendo que Eros y Afrodita nacieron de Afrodita en su nacimiento. De hecho, según Safo, Ouranos (Urano) fue el padre de Eros por Afrodita, lo que sugiere que se la imaginó nacida embarazada del dios. Nonnus dice esto explícitamente.]
Stesichorus, Fragment 575 (trad. Campbell, Vol. Greek Lyric III) (C5th B.C.): «[Eros] Eres un hijo cruel de Afrodita engañoso, que ella dio a luz a Ares».
Scholiast en Apolonio de Rodas (trad. Campbell, Vol. Griego Lyric III Ibycus Frag 324) (Escolia griega): «Apollonios (Apolonio) [poeta griego C3rd BC] hace que Eros sea un niño de Afrodita … Simónides [poeta griego C6th-5th BC] hijo de Afrodita y Ares «.
Safo, fragmento 198 (de Scholiast on Theocritus) (trad. Campbell, Vol. Griego Lyric I) (letra griega C6th BC): «Safo hizo a Eros hijo de Afrodita y Ouranos (Urano, cielo) «.
Pausanias, Descripción de Grecia 9. 27. 1 (trans. Jones) (cuaderno de viaje griego C2nd AD): «La mayoría de los hombres consideran a Eros como el más joven de los dioses y el hijo de Afrodita.»
Ovidio, Fasti 4. 1 ff (trad. Boyle) (poesía romana C1st BC a C1st AD): «[Afrodita] gentil madre de gemelos Cupidos (amores) [Erotes], favorecerme «.
Séneca, Phaedra 274 ff (trad. Miller) (tragedia romana C1st AD): «Tú diosa [Afrodita], nacida del mar cruel, que eres llamada madre de ambos Cupidos [ es decir, Eros y Anteros], ese chico alegre y tuyo «.
Statius, Thebaid 4. 786 ff (trad. Mozley) (epopeya romana C1st AD): «El niño, acostado en el seno de la tierra vernal y profundo en la hierba, ahora se arrastra avanza sobre su rostro y aplasta los pastos suaves, no en clamoroso clamor por la leche llora por su amada enfermera … Tal era el joven Marte [Ares] en medio de la nieve Odrysian, tal era el niño alado [Eros] en las alturas de Maenalus [ después de su nacimiento] «.
Apuleius, The Golden Ass 11. 218 y sigs. (Trans. Walsh) (novela romana C2nd AD): «Venus celestial [Afrodita]; dio a luz a Amor (Amor) [Eros] cuando el mundo comenzó por primera vez «.
Nonnus, Dionysiaca 5. 88 ff (trans. Rouse) (griego épico C5th AD): «Afrodita deseando deleitar a Ares en la profunda astucia de su mente, apretó un collar de oro que mostraba lugar sobre el sonrojado cuello de la niña [un regalo a su hija Harmonia en su matrimonio con Kadmos (Cadmus)], una inteligente obra de Hephaistos (Hephaestus) engastada con brillantes gemas en refinamiento magistral. Esto lo había hecho para su novia Kyprian (chipriota) , un regalo para su primer vistazo de Archer Eros (Amor) [nacido de Afrodita, la esposa de Hephaistos, pero engendrado por su amante Ares]. Para el novio de la rodilla pesada siempre esperaba que Kythereia (Cytherea) le diera un hijo cobarde, teniendo la imagen de su padre en sus pies. Pero su pensamiento estaba equivocado; y cuando vio a un hijo de pies enteros [Eros] brillante con alas como el hijo de Maia, Hermes, hizo este magnífico collar «.
Nonnus, Dionysiaca 41. 128 ss .: «[Afrodita nació del mar:] Allí, tan pronto como fue vista en el refugio vecino [es decir, Beroe en el Líbano], ella dio a luz Eros (Amor) salvaje, primera semilla y principio de generación, guía aceleradora del sistema del universo; y el niño de piernas rápidas, pateando varonilmente con sus piernas animadas, aceleró el trabajo duro de ese cuerpo sin una enfermera, y golpeó el útero cerrado de su madre soltera; luego, caliente incluso antes de nacer, sacudió sus alas ligeras y con un empujón abriéndose las puertas del nacimiento. Rápidamente, Eros saltó a los brazos relucientes de su madre y se lanzó sobre sus senos firmes. extendiéndose sobre ese pecho de lactancia. Desafortunadamente, ansiaba su comida; mordió con las encías el extremo de la teta que nunca había ordeñado antes y bebió con avidez toda la leche de esos senos hinchados con la presión de las gotas que dan vida «.
Para referencias adicionales ver Eros God of Love (General) (página siguiente)
III. HIJO DEL CAOS O NYX
Para esta genealogía ver el ANCIANO EROS
IV. HIJO DE URANO Y GAEA O AFRODITA
Safo, Fragmento 198 (de Scholiast en Apolonio de Rodas) (trad. Campbell, Vol. Lírica griega I) (C6th BC): «Safo hace Eros hijo de Ge (Gaea, Tierra) y Ouranos (Urano, Cielo) «.
V. HIJO DE ZEPHYRUS E IRIS
Alcaeus, Fragment (trad. Campbell, Vol. Greek Lyric I Sappho, Fragment 198) (Lyric griego C6th BC): «Alkaios (Alcaeus) [poeta griego C6th BC] dijo Eros era hija de Iris (Rainbow) y Zephyros (Zephyrus, West Wind) «.
Alcaeus, Fragmento 327 (de Plutarco, Diálogo sobre el amor) (trad. Campbell, Vol. Griego Lírico I) (C6th BC): «El más sombrío de los dioses [Eros], a quien llevaba Iris, de las sandalias de la feria, acostada con Zephyros de cabello dorado «. [N.B. La unión del arco iris con el viento del oeste simboliza el brillo abigarrado de la pasión.]
VI. HIJO DE EILEITHYIA
Pausanias, Descripción de Grecia 9. 27. 1 (trans. Jones) (cuaderno de viaje griego C2nd AD): «Olen the Lykian (Lycian) que compuso los himnos griegos más antiguos, dice en un himno a Eileithyia de que ella era la madre de Eros «.
VII. HIJO DE PORO Y PENIA
Platón, Simposio 178 (filósofo griego C4 aC): «En el cumpleaños de Afrodita hubo una fiesta de los dioses, en la que el dios Poros (Porus, Expediencia), que es El hijo de Metis (Sabiduría), fue uno de los invitados. Cuando terminó la fiesta, Penia (Pobreza), como es el caso en tales ocasiones, vino a las puertas a mendigar. Ahora Poros, que era el peor para el néctar (allí no había vino en esos días), entró en el jardín de Zeus y se durmió profundamente, y Penia, considerando sus propias circunstancias difíciles, planeó tener un hijo con él, y en consecuencia se acostó a su lado y concibió a Eros (Amor ), quien en parte porque él es naturalmente un amante de lo bello, y porque Afrodita es bella, y también porque nació en su cumpleaños, es su seguidor y asistente «.
EROS, AFRODITA Y EL TIFOE GIGANTE
Eros-Cupido montando delfines, mosaico grecorromano de Zeugma C1st-2nd AD, Museo Gaziantep Pseudo-Hyginus, Astronomica 2. 30 (trad. Grant) (mitógrafo romano C2nd AD): «Peces. Diognetus Erythraeus dice que una vez Venus [Afrodita] y su hijo Cupido [Eros] vinieron a Siria al río Eufrates. Allí Typhon [Typhoeus], de quien ya hemos hablado, apareció de repente. Venus [Afrodita] y su hijo se arrojaron al río y allí cambiaron sus formas a peces, y al hacerlo, escaparon del peligro. Entonces, los sirios, que están adyacentes a estas regiones, dejaron de comer pescado, por temor a pescar. ellos, con la misma razón, parecen oponerse a la protección de los dioses o atrapar a los dioses mismos «.
Ovidio, Fasti 2. 458 y siguientes (traducido Boyle) (poesía romana C1st BC a C1st AD): «Piscis, los caballos del cielo. Dicen que tú y tu hermano (por tu las estrellas brillan juntas) transportaron a dos dioses en sus espaldas. Una vez Dione [Venus-Afrodita], huyendo del terrible Tifón [Tifón] (cuando Júpiter [Zeus] armado en defensa del cielo), llegó al Éufrates con pequeños Cupidos (Cupido) [Eros ] remolcado y sentado junto al borde del arroyo de Palestina. Los álamos y las cañas dominaban las cimas de los bancos; los sauces también ofrecían esperanza de ocultamiento. Mientras se escondía, el bosque rugía con el viento. Palidecía de miedo y creía que era hostil se acerca la banda. Mientras agarraba al hijo al pecho, grita: «Al rescate, Nymphae (Ninfas), y ayuda a dos divinidades». Sin demora; ella saltó. Los peces gemelos se metieron debajo de ellos; por lo que, como ve, se nombran las estrellas actuales. Por lo tanto, los sirios tímidos piensan que es incorrecto servir a esta especie; no contaminan bocas con pescado «.
Nonnus, Dionysiaca 2. 223 ff (trans. Rouse) (griego épico C5th AD): «[Cuando el monstruo Typhoeus asedió Olympos:] Los lazos indisolubles de armonía se disuelven: por ¡El atrevido Eros ha volado en pánico, dejando atrás sus flechas generativas, el adorno de las novias, él el que domina todo, el no dominado!
Para MÁS información sobre este monstruoso gigante ver TYPHOEUS
AMOR DE EROS Y PSIQUIA
Para esta historia ver PSYKHE
AMOR A EROS Y RHODOPE
Nonnus, Dionysiaca 32. 46 y sigs. (Trans. Rouse) (griego épico C5th AD): «[Hera se dirige engañosamente a Zeus (su historia podría ser una mentira):] ‘Me apresuro visitar la cancha ardiente de Oriente cerca de Helios (Helio, el Sol). ¡Porque Eros está en el ala junto a las aguas de Tetis, golpeado con pasión por la hija de Rhodope Okeanos (Oceanus), y ha renunciado a su emparejamiento! Entonces, el orden del universo está fuera de lugar, la vida no vale nada cuando el matrimonio se haya ido. He estado para convocarlo, y aquí estoy en mi camino de regreso. Porque sabes que me llaman la Dama del matrimonio, porque mis manos sostienen la realización del parto. «»
EROS Y LOS AMORES DE LOS DIOSES
Afrodita y Eros, loutrophoros de figura roja de Apulia C4th BC, El Museo J. Paul Getty Seneca, Phaedra 186 ff (trans. Miller) ( Tragedia romana C1st AD): «Este dios alado [Cupido-Eros] gobierna implacablemente por toda la tierra e inflama al propio Jove [Zeus], herido con fuegos no apagados. Gradivus [Mars-Ares], el dios guerrero, ha sentido esas llamas; ese dios [Vulcan-Hephaestus] ha sentido a los que modelan los rayos de tres horquillas, sí, el que atiende a los hornos calientes que se desatan bajo los picos de Aetna (Etna) está inflamado por un fuego tan grande como este. No, Phoebus [Apollon], él mismo, que guía con certeza sus flechas desde la cuerda del arco, un chico de puntería más segura perfora con su asta voladora y vuela, pernicioso por igual hacia el cielo y la tierra «.
Séneca, Phaedra 290 y siguientes: «Él [Eros] golpea los senos de las sirvientas con un calor desconocido, y pide a los mismos dioses que abandonen el cielo y moren en la tierra en formas prestadas».
I. LAS DIOSAS VIRGENES
Safo, Fragmento 34 (trad. Campbell, Vol. Letra griega I) (C6th B.C.): «Eros, aflojador de extremidades, nunca se acerca a ella [Artemis]».
Apolonio Rhodius, Argonautica 3. 28 ff ff (trad. Rieu) (griego épico C3rd BC): «Athene (Athena), quien respondió sonriendo: ‘surgió como soy de Zeus , Nunca he sentido las flechas del Niño [es decir, Eros], y de los encantos amorosos no sé nada «» [NB Apolonio dice que Atenea no tiene sexo porque nació de la cabeza de Zeus en lugar de nacer de manera convencional.]
N.B. En el Himno homérico a Afrodita se afirma que las diosas Atenea, Hestia y Artemisa eran inmunes al amor. Sin embargo, Afrodita, en lugar de Eros, se describe como la fuente de la pasión.
II. LOS AMORES DE ZEUS
Corinna, Fragmento 654 (trad. Campbell, Vol. Griego Lyric IV) (C5th BC): «Y de tus [Asopos ‘(Asopus’)] hijas Zeus tiene tres; y Poseidón, se casó con tres, y Phoibos (Febo) [Apolo] dos, y Hermes uno. Por eso la pareja Eros y Kypris (Cipris) [Afrodita] los persuadieron, de que debían ir en secreto a su casa y llevarse a sus nueve hijas. «.
Pseudo-Hyginus, Astronomica 2. 42 (trans. Grant) (mitógrafo romano C2nd AD): «Uno de ellos [los planetas] es la estrella de Jove [Zeus], Phaenon por su nombre, un joven que Prometeo hizo sobresalir a todos los demás en belleza, cuando estaba haciendo hombres, como dice Heraclides Ponticus [filósofo griego del siglo IV a. C.]. Cuando tenía la intención de retenerlo, sin presentarlo a Jove [Zeus] como lo hizo los otros, Cupido [Eros] informaron esto a Jove, con lo cual Mercurio [Hermes] fue enviado a Phaenon y lo persuadió para que fuera a Jove y se volviera inmortal. Por lo tanto, se lo coloca entre las estrellas «.
Nonnus, Dionysiaca 7. 110 ss. (Trans. Rouse) (griego épico C5th AD): «Ahora Eros el sabio, el autodidacta, el gerente de las edades, llamó a las sombrías puertas del primitivo Khaos (Caos). Sacó el carcaj divino, en el que se mantenían separadas doce flechas de fuego para Zeus, cuando su deseo se volvió hacia una u otra mujer mortal para una novia. Justo en la parte posterior de su carcaj de lovebolts había grabado con letras de oro una oración en verso para cada uno: – El primero lleva a Kronion (Cronion) [Zeus] a la curva de Io con frente de novilla. El segundo cortejará a Europa por el El tercero a la novia de Plouto (Plutón) trae al señor del alto Olympos. El cuarto llamará a Danaë un compañero de cama de oro. El quinto ofrecerá a Semele una ardiente boda ardiente. El sexto traerá al Rey del cielo un águila a Aigina (Aegina). El séptimo se une a Antiope a un fingió Satyros. El octavo, un cisne dotado de mente traerá a Leda desnuda. El noveno semental noble le da a Perrhaibid Dia. Las décimas tres noches de felicidad de luna llena le dan al compañero de cama de Alkmena (Alcmena). El undécimo va a llevar a cabo la novia de Laodameia. El duodécimo dibuja a Olympias su marido que rodea tres veces. Cuando Eros vio y manipuló cada uno por turnos, volvió a colocar los otros ejes de púas de fuego, y tomó el quinto y lo ajustó a la brillante cuerda del arco; pero primero puso una ramita de hiedra en la punta de la flecha alada, para ser una guirnalda adecuada para el dios de la vid, y sumergió todo el eje en un tazón de néctar, para que Bakkhos (Baco) [Dionysos] pudiera crecer vintage nectarial Mientras Eros revoloteaba hacia la casa de Zeus, Semele también salió con la mañana rosada «.
Nonnus, Dionysiaca 7. 190 y siguientes: «[Semele se estaba bañando en una corriente tebana:] Tampoco el ojo que todo lo visitaba de Zeus no la veía: desde las alturas volvió el infinito círculo de su visión sobre la niña. En este momento Eros (Amor) se paró frente al Padre, que la miraba, y el inexorable arquero dibujó en el aire el arco que fomenta la vida. La cuerda del arco centelleó sobre el eje cubierto de flores, y como el arco se estiró hacia atrás, el misil poeta hizo sonar la tensión báquica. Zeus era el trasero: ¡con toda su grandeza inclinó el cuello ante Eros, el don nadie! Y, como una estrella fugaz, el eje del amor voló girando en el corazón de Zeus , con un silbato nupcial, pero desviándose con un giro calculado, acababa de rascarse el muslo redondeado con sus surcos, un anticipo del nacimiento por venir [es decir, el bebé Dionysos sería recuperado del cadáver de Semele e implantado en el muslo de Zeus]. Entonces Kronion (Cronion) rápidamente giró el ojo que era el canal del deseo y el encanto del amor lo azotaba con pasión por la chica. Al ver a Semele, saltó maravillado »
Nonnus, Dionysiaca 7. 267 y siguientes: «Encantado [por Semele] él [Zeus] recibió la dulce chispa enloquecedora en un corazón que lo conoció bien. Todo padre fue adorado por un niño: el pequeño Eros con su débil disparo prendió fuego a este Arquero de los Rayos. Ni el diluvio de la inundación, ni el rayo de fuego podrían ayudar a su poseedor: esa enorme llama celestial fue vencida por el pequeño fuego de Paphia [Afrodita] irrefrenable; el pequeño Eros enfrentó la piel peluda, su faja mágica se enfrentaba a la égida; el fuerte estruendo del trueno era esclavo de su carcaj de cría de amor. El dios fue sacudido por el aguijón desgarrador del deseo por Semele, asombrado: porque el amor está cerca del vecino de la admiración «.
III. LOS AMORES DE ARES
El Anacreontea, Fragmento 28 (trad. Campbell, Vol. Griego Lyric II) (C5th BC): «Kythere’s (Cythere’s) [Afrodita] marido [Hephaistos (Hephaestus)] estaba haciendo las armas de hierro Erotes (Loves) en la fragua de Lemnos; Kypris (Cypris) [Afrodita] estaba sumergiendo los puntos en su dulce miel y Eros estaba agregando agallas. Un día Ares entró del campo de batalla blandiendo una fuerte lanza y comenzó a make fun of Eros’ weapon. Eros said ‘This one is heavy: try it and you will see.’ Ares took the javelin, while Kypris smiled quietly; and with a groan he said, ‘It is heavy: take it back.’ ‘Keep it,’ said Eros.» [N.B. This was perhaps an introduction to the story of the adultery of Ares and Aphrodite.]
IV. THE LOVES OF APHRODITE
Ovid, Metamorphoses 10. 525 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) : «Once, when Venus’ [Aphrodite’s] son [Eros] was kissing her, his quiver dangling down, a jutting arrow, unbeknown, had grazed her breast. She pushed the boy away. In face the wound was deeper than it seemed, though unperceived at first. [And she became] enraptured by the beauty of a man [Adonis].»
V. THE LOVES OF APOLLO
Philostratus the Younger, Imagines 14 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «[From a description of an ancient Greek painting depicting the death of Apollon’s love Hyakinthos (Hyacinthus) :] The discus [lies] at his feet ((lacuna)) . . Eros (Love), is both radiant and at the same time downcast, and Zephyros (Zephyrus, the West Wind), who just shows his savage eye from his place of look-out–by all this the painter suggests the death of the youth, and as Apollon makes his cast [of the deadly discus].»
Ovid, Metamorphoses 1. 452 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) : «Daphne daughter of Peneus was the first love of great Phoebus [Apollon], a love not lit by chance unwitting, but by Cupido’s [Eros’] spiteful wrath. Delius [Apollon], proud in victory saw Cupido [Eros] draw his bow’s taut arc, and said : ‘Mischievous boy, what are a brave man’s arms to you? That gear becomes my shoulders best. My aim is sure; I wound my enemies, I wound wild beasts; my countless arrows slew but now the bloated Python, whose vast coils across so many acres spread their blight. You and your loves! You have your torch to light them Let that content you; never claim my fame!’ And Venus’ [Aphrodite’s] son [Eros] replied : ‘Your bow, Phoebus, may vanquish all, but mine shall vanquish you. As every creature yields to power divine, so likewise shall your glory yield to mine.’ Then winging through the air his eager way he stood upon Parnasos’ shady peak, and from his quiver’s laden armoury he drew two arrows of opposing power, one shaft that rouses love and one that routs it. The first gleams bright with piercing point of gold; the other, cull and blunt is tipped with lead. This one he lodged in Nympha Peneis’ [Daphne’s] heart; the first he shot to pierce Apollo to the marrow. At once he loves; she flies the name of love.»
VI. THE LOVE OF HADES
Ovid, Metamorphoses 5. 363 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) : «Tyrannus [Haides] had left his dark domains to and fro, drawn in his chariot and sable steeds, inspected the foundations of the isle [of Sicily]. His survey done, and no point found to fail, he put his fears aside; when, as he roamed, Erycina [Venus-Aphrodite], from her mountain throne, saw him and clasped her swift-winged son, and said : ‘Cupido [Eros], my child, my warrior, my power, take those sure shafts with which you conquer all, and shoot your speedy arrows to the heart of the great god to whom the last lot fell when the three realms were draw. Your majesty subdues the gods of heaven and even Jove [Zeus], subdues the Gods of the Sea and him, even him, [Poseidon] who rules the Gods of the Sea. Why should Tartara (Hell) lag behind? Why not there too extend your mother’s empire and your own? The third part of the world’s at stake, while we in heaven (so long-suffering!) are despised–my power grows less, and less the power of Amor [Eros]. Do you not see how Pallas [Athena] and Diana [Artemis], queen of the chase, have both deserted me? And Ceres'[Demeter’s] daughter [Persephone], if we suffer it, will stay a virgin too–her hope’s the same. So for the sake of our joint sovereignty, if that can touch your pride, unite in love that goddess and her uncle [Haides].’ So she spoke. Then Cupido, guided by his mother, opened his quiver and of all his thousand arrows selected one, the sharpest and the surest, the arrow most obedient to the bow, and bent the pliant horn against his knee and shot the barbed shaft deep in Dis’ [Haides’] heart.»
Eros-Cupid picking grapes, Greco-Roman mosaic from Carthage C4th A.D., Carthage National Museum VII. THE LOVES OF DIONYSUS
Nonnus, Dionysiaca 11. 351 ff (trans. Rouse) (Greek epic C5th A.D.) : «[Following the death of Dionysos’ beloved Ampelos (Ampelus) :] Eros came near in the horned shape of a shaggy Seilenos (Silenus), holding a thyrsus, with a dappled skin draped upon him, as he supported his frame on a fennel stalk, for a staff the old man’s friend; and he spoke comfortable words to groaning Bakkhos (Bacchus) : ‘Let loose on another love the sparks of this love of yours; turn the sting upon another youth in exchange, and forget the dead. For new love is ever the physic for older love, since old time knows not how to destroy love even if he has learnt to hide all things. If you need a painhealing medicine for your trouble, court a better boy: fancy can wither fancy . . . [he then tells the tale of the lovers Kalamos (Calamus) and Karpos (Carpus)].’ So stormy Eros comforted Dionysos with gentle friendly words, and softened the sweet pangs.»
Nonnus, Dionysiaca 15. 220 ff : «The deceiver Eros excited the longing herdsman [Hymnos (Hymnus)], and shook him with yet stronger passion [for the nymphe Nikaia (Nicaea)].» [N.B. Nikaia slew Hymnos but his death was avenged by Eros who incited a passion for her in Dionysos.]
Nonnus, Dionysiaca 15.370 & 392 ff : «[Nemesis the goddess of retribution :] Pointed out the newly slain corpse [of a boy callously slain by the Nymphe he loved] to the Kyprian (Cyprian) [Aphrodite], and upbraided Eros himself [at the injustice] . . . Pan and Phoibos (Phoebus) [Apollon] cried out aloud [at the injustice]: ‘A curse on the fife! Where is Nemesis? Where is Kypris (Cypris) [Aphrodite]? Eros, handle not your quiver . . .’ And Eros, eyeing the untamed heart of the murderous girl, threw down his bow, and swore an oath by the oxherd, to bring the maiden unwilling under the yoke of Dionysos [i.e. that she would be raped by the god].»
Nonnus, Dionysiaca 16. 1 ff : «The death of the plaintive shepherd [Hymnos (Hymnus) who was slain by Nikaia (Nicaea)] was not unavenged; but valiant Eros caught up his bow and drew a shaft of desire, arming unseen himself against Dionysos as he sat by the bank of the pebbly stream.
Fleet Nikaia had finished her wonted hunt for game; sweating and tired by hard work in her beloved highlands, she was bathing her bare body in a mountain cascade. Now longshot Eros made no delay. He set the endshining beard of a winged arrow to the string, and rounded his bow, and buried the whole shot in the heart of love-maddened Lyaios (Lyaeus) [Dionysos]. Then Dionysos saw the girl swimming in the water bareskin, and his mind was shaken with sweet madness by the fiery shaft.»
Nonnus, Dionysiaca 16. 263 ff : «Eros espied her [Nikaia (Nicaea)] sleeping, and pointed her out to Bakkhos (Bacchus), pitying Hymnos; Nemesis laughed at the sight. And sly Dionysos with shoes that made no noise crept soundless to his bridal.» [N.B. Nikaia’s punishment for the slaying of Hymnos was to be raped by the god Dionysos.]
Nonnus, Dionysiaca 41. 399 ff : «[Aphrodite calls on Eros to cause Dionysos and Poseidon to fall in love with her daughter Beroe :] [The goddess] returned to her own house. She placed her own goldwrought throne beside the place where her son [Eros] sat, and throwing an arm round his waist, with quiet countenance opened her glad arms to receive the boy and held the dear burden on her knees; she kissed both his lips and eyes, touched his mind-bewitching bow and fingered the quiver, and spoke in feigned anger these cunning words : ‘You hope of all life! You cajoler of the Foamborn! . . . Come–for your sister’s [Beroe’s] beauty draw your bow and bewitch the gods, or say, shoot one shaft and hit with the same shot Poseidon and vinegod Lyaios (Lyaeus) [Dionysos], Blessed Ones both. I will give you a gift for your long shot which will be a proper wage worthy of your feat–I will give you the marriage harp of gold, which Phoibos (Phoebus) [Apoll on] gave to Harmonia at the door of the bridal chamber; I will place it in your hands in memory of a city to be, that you may be not only an archer, but a harpist, just like Apollon . . .’ He [Eros] obeyed her request; treading on Time’s heels hot Eros (Love) swiftly sped, plying his feet into the wind, high in the clouds scoring the air with winged step, and carried his flaming bow; the quiver too, filled with gentle fire, hung down over his shoulder. As when a star stretches straight with a long trail of sparks . . . so went furious Eros in a swift rush, and his wings beat the air with a sharp whirring sound that whistled down from the sky. Then near the Assyrian rock he united from fiery arrows on one string, to bring two wooers into like desire for the love of a maid [Beroe], rivals for one bride, the vinegod [Dionysos] and the ruler of the sea [Poseidon] . . .
One came from the deep waters of the sea-neighbouring roadstead, and one left the land of Tyre, and among the mountains of Lebanon the two met in one place . . . Then Eros came quickly up to the maiden hard by, and struck both divinities with two arrows. He maddened Dionysos to offer his treasures to the bride, life’s merry heart and the ruddy vintage of the grape; he goaded to love the lord of the trident, that he might bring the sea-neighbouring maid a double lovegift, seafaring battle on the water and varied dishes for the table. He set Bakkhos (Bacchus) more in a flame, since wine excites the mind for desire, and wine finds unbridled youth much more obedient to the rein when it is charmed with the prick of unreason; so he shot Bakkhos and drove the whole shaft into his heart, and Bakkhos burnt, as much as he was charmed by the trickling honey of persuasion. Thus he maddened them both; and in the counterfeit shape of a bird circling his tracks in the airy road as swift as the rapid winds, he rose with paddling feet, and cried these taunting words : ‘If Dionysos confounds men with wine, I excite Bakkhos with fire!’»
Nonnus, Dionysiaca 42. 336 ff : «He [Dionysos in love with Beroe] sorrowfully prayed to Hypnos (Hypnus, Sleep) and Eros (Love) and Aphrodite of the Evening [i.e. the star Venus], all at once, to let him see the same vision [of his love] once more, longing for the deceptive phantom of an embrace.»
Nonnus, Dionysiaca 43. 420 ff : «[After Dionysos loses the contest for Beroe, Eros promises him other loves :] Lyaios (Lyaeus) never smiled, and his brother Eros came to console him in his jealous mood :
‘Dionysos, why do you still bear a grudge against the cestus that makes marriages? Beroe was no proper bride for Bakkhos (Bacchus), but his marriage of the sea was quite fitting, because I joined the daughter of Aphrodite of the sea to a husband whose path is in the sea. I have kept a daintier one for your bridechamber, Ariadne, of the family of Minos and your kin. Leave Amymone to the sea, a nobody, one of the family of the sea herself. You must leave the mountains of Lebanon and the waters of Adonis and go to Phrygia, the land of lovely girls; there awaits you a bride without salt water, Aura of Titan stock. Thrake the friend of brides will receive you, with a wreath of victory ready and a bride’s bower; thither Pallene also the shakespear summons you, beside whose chamber I will crown you with a wedding wreath for your prowess, when you have won Aphrodite’s delectable wrestling-match.’ So wild Eros spoke to his lovemad brother Bakkhos : then he flapt his whizzing fiery wings, and up the sham bird flew in the skies travelling until he came to the house of Zeus.»
Nonnus, Dionysiaca 47. 332 ff : «[Ariadne laments after being abandoned by Theseus on the island of Naxos :] ‘Are the very images of Eros (Love) and Anteros (Love Returned) jealous of me? For I saw a deslightful vision of marriage accomplished in a deceitful dream, and lovely Theseus was gone.’»
Nonnus, Dionysiaca 47. 456 ff : «[At the wedding of Dionysos and Ariadne :] Eros decked out the bridal chamber for Bakkhos (Bacchus) . . . Fiery Eros made a round flowergarland with red roses and plaited a wreath coloured like the stars, as prophet and herald of the heavenly Crown; and round about the Naxian bride danced a swarm of the Erotes (Loves) which attend on marriage.»
Nonnus, Dionysiaca 48. 106 ff : «[Dionysos wrestled Pallene in a contest for her hand in marriage :] Kypris (Cypris) [Aphrodite] presided over the ring. In the midst was Eros naked, holding out to Bakkhos the bridal wreath. Wrestling was to win the bride : Peitho clad her delicate body in a silvery robe, foretelling victory for Lyaios’s (Lyaeus’) wooing . . .
After the victory in this contest, with the consent of Zeus, Eros crowned his brother with the cluster that heralds a wedding; for he had accomplished a delectable wedding-bout.»
Nonnus, Dionysiaca 48. 264 ff : «[The virginal Titanis Aura] saw a vision in her dreams which foretold a delectable marriage to come–how the fiery god, wild Eros, fitted shaft to burning string and shot the hares in the forest, shot the wild beasts in a row with his tiny shafts; how Kypris (Cypris) [Aphrodite] came laughing, wandering with the young son of Myrrha [Adonis] when he hunted, and Aura the maiden was there, carrying the quiver of huntsman Eros on the shoulder which was ere now used to the bow of Artemis. But Eros went on killing the beasts, until he was weary of the bowstring and hitting the grim face of a panther or the snout of a bear; then he caught a lioness alive with the allbewitching cestus, and dragged the beast away showed her fettered to his merry mother. The maiden saw in the darkness how mischievious Eros teased herself also as he leaned her arm on Kythereia (Cytherea) and Adonis, while he made his prey the proud lioness, bend a slavish knee before Aphrodite, as he cried loudly, ‘Garlanded mother of the Erotes (Loves)! I lead to you Aura, the maiden too fond of maidenhood, and she bows her neck. Now you dancers of lovestricken Orkhomenos (Orchomenus) [the Kharites (Charites)], crown this cestus, the strap that waists on marriage, because it has conquered the stubborn will of this invincible lioness!’ Such was the prophetic oracle which Aura the mountain maiden saw. Nor was it vain for the loves, since they themselves bring a man in to the net and hunt a woman.
The maiden awoke, raved against the prudent laurel, upbraided Eros and the Paphian [Aphrodite].»
Nonnus, Dionysiaca 48. 470 ff : «Eros drove Dionysos mad for the girl [Aura] with the delicious wound of his arrow, then curving his wings flew lightly to Olympos. And the god roamed over the hills scourged with a greater fire. For there was not the smallest comfort for him. He had then no hope of the girl’s love, no physic for his passion; but Eros burnt him more and more with the mindbewitching fire to win mad obstinate Aura at last.»
Nonnus, Dionysiaca 48. 593 ff : «When fiery Eros beheld Aura stumbling heavyknee [in drunkeness], he leapt down from heaven, and smiling with peaceful countenance spoke to Dionysos [who was trying to seduce the maid] with full sympathy : ‘Are you for a hunt, Dionysos? Virgin Aura awaits you!’ With these words, he made haste away to Olympos flapping his wings, but first he had inscribed on the spring petals–‘Bridegroom, complete your marriage while the maiden is still asleep; and let us be silent that sleep may not leave the maiden.’»
EROS & THE LOVES OF THE HEROES
Eros holding wreath, Apulian red-figure lekythos C4th B.C., Museum of Fine Arts Boston Theognis, Fragment 1. 1231 (trans. Gerber, Vol. Greek Elegiac) (Greek elegy C6th B.C.) : «Cruel Eros (Love), the Maniai (Maniae, Spirits of Madness) took you up and nursed you. Because of you Troy’s acropolis was destroyed, and great Theseus, Aegeus’ son, and noble Aias (Ajax), Oileus’ son, through your acts of recklessness.» [N.B. The myths referred to are the love of Paris for Helene, Theseus’ abduction of Helene, and Ajax’ rape of Kassandra (Cassandra).]
I. THE LOVE OF PERSEUS & ANDROMEDA
Philostratus the Elder, Imagines 1. 29 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «[From a description of an ancient Greek painting at Neapolis (Naples) :] Perseus who, they say, slew in Aithiopia (Ethipia) a Ketos (Sea-Monster) . . . Now the painter glorifies this tale and shows his pity for Andromeda in that she was given over to the Ketos (Sea-Monster). The contest is already finished and the Ketos lies stretched out on the strand, weltering in streams of blood–the reason the sea is red–while Eros (Love) frees Andromeda from her bonds. Eros is painted with wings as usual, but here, as it not usual, he is a young man, panting and still showing the effects of his toil; for before the deed Perseus put up a prayer to Eros that he should come and with him swoop down upon the creature, and Eros came, for he heard the Greek’s prayer.»
II. THE LOVE OF MEDEA & JASON
See Eros & the Love of Medea (below)
III. THE LOVE OF HERACLES & ABDERUS
Philostratus the Elder, Imagines 2. 25 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «[From a description of an ancient Greek painting at Neapolis (Naples) :] The Burial of Abderos (Abderus) . . . You must regard this present labour [i.e. the mares of Diomedes] as the more difficult, since Eros (Love) enjoins it upon Herakles in addition to many others, and since the hardship laid upon him was no slight matter. For Herakles is bearing the half-eaten body of Abderos [his beloved], which he has snatched from the [man-eating] mares . . . The tears he shed over them, the embraces he may have given them, the laments he uttered, the burden of grief on his countenance–let such marks of sorrow be assigned to another lover.»
IV. THE LOVE OF PELOPS & HIPPODAMEIA
Philostratus the Younger, Imagines 9 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «He [Oinomaos (Oenomaus)] urges Myrtilos (Myrtilus) on. But Eros, sad of mien, is cutting the axle of the chariot, making clear two things : that the girl [Hippodameia] in love with her lover [Pelops] is conspiring against her father [Oinomaos].» [N.B. In the myth Myrtilos is bribed by Pelops to cut the axle of Oinomaos. Eros (Love) is symbolically the cause, since the race was for the hand of Hippodameia.]
V. THE LOVE OF HERO & LEANDER
Musaeus, Hero and Leander 20 ff (Greek poetry C5th – 6th A.D.) : «And Eros (Love) upstrained his bow, shot forth a single shaft into both cities together, kindling a youth [Leandros (Leander)] and maiden [Hero].»
VI. THE LOVE OF SCYLLA DAUGHTER OF NISUS
Nonnus, Dionysiaca 25. 150 ff (trans. Rouse) (Greek epic C5th A.D.) : «[Minos won his war against King Nisos of Megara with the help of the gods of love who caused the king’s daughter to fall in love with Minos and betray her father :] Kypris (Cypris) [Aphrodite] wore a gleaming helmet . . . the bridal swarm of unwarlike Erotes (Loves) shot their arrows in battle . . . he [Ares] saw his Phobos (Rout) and his Deimos (Terror) supporting the Erotes (Loves), when he beheld Aphrodite holding the buckler and Pothos (Desire) casting a lance, while daintyrobe Eros wrought a fairhair victory against the fighting men in arms.»
Aphrodite, Ares, Eros and Phobos, Greco-Roman fresco from Pompeii C1st A.D., Naples National Archaeological Museum VII. THE LOVE OF MORRHEUS & CHALCOMEDE
Nonnus, Dionysiaca 33. 4 ff : «[During Dionysos’ war with the Indians, Eros causes the Indian warrior Morrheus to fall in love with Khalkomedeia (Chalcomedea), and so assists the god.] [Aphrodite addresses the Kharis (Charis) Pasithea :] ‘Dear girl, what trouble has changed your looks? . . . Are you plagued by my son [Eros god of love], perhaps? Are you in love with some herdsman, among the mountains, struck with desire, like Selene (Goddess of the Moon)? Has Eros perhaps flicked you also with the cestus, like Eos (the Dawn) once before? . . .’ When Aphrodite had said this, the Kharis weeping replied : ‘O mother of the Erotes (Loves)! O sower of life in the everlasting universe . . . I am tormented by the afflictions of Lyaios (Lyaeus) [Dionysos] my father, driven about in terror by the Erinyes (Fury). He is your brother – protect Dionysos if you can! . . .’ Then sweetsmiling Aphrodite put off the w onted laugh from her radiant rosy face, and told her messenger Aglaia (Aglaea) [one of the Kharites (Charites)] to call Eros her son, that swift airy flyer, that guide to the fruitful increase of the human race. The Kharis moved her footsteps, and turned her face this way over earth and sea and sky, if somewhere she might find the restless track of Eros–for he beats his wings everywhere circling the four separate regions of the universe [perhaps earth, sea, sky and underworld]. She found him on the golden top of Olympos, shooting the nectar-drops from a cup [playing cottabus and game in which wine was thrown out of cups at a mark]. Beside him stood Hymenaios (Hymenaeus), his fair-haired playfellow in the dainty game . . . [See Eros & his Playmate Hymenaeus on the following page for this section.] Now Aglaia (Aglaea) stood by him [Eros], and she received the prizes from the hands of the prince of heart’s delight. She beckoned the boy aside, and with silence their only witness, she whispered into his ear the artful message of her intriguing mistress : ‘Allvanquisher unvanquished, preserver of life coeval with the universe, make haste! Kythereia (Cytherea) is in distress. None of her attendants has remained with her; Kharis (Charis, Grace) has gone, Peitho (Seduction) has vanished, Pothos (Sexual Longing) the inconstant has left her; she had none to send but me. She needs your invincible quiver!’ No sooner had she spoken, than Eros wanted to know all about it; for all young people, when they hear only the beginning of a story, are eager to hear the end. So he rattled out with that unbridled tongue of his–‘Who has hurt my dear Paphian? Let me take arms in hand and fight all the world! If my mother is in distress, let me stretch my allvanquishing bowstring against even Kronion (Cronion) [Zeus], to make him once more a mad ravishing love-bird, and eagle, or a bull swimming in the sea! Or if Pallas [Athene] has provoked her, if Crookshank [Hephaistos (Hephaestus)] has hurt her by lighting the bright torch of the Kekropian (Cecropian) light, I will fight them both, Hephaistos and Athene! Or if Archeress [Artemis] hareslayer moves her to anger, I will draw the fiery Olympian sword of Orion to prick Artemis and drive her out of the sky! Or if it is Hermes I will carry off with me Maia’s son on my wings, and let him call useless Peitho [his wife] in vain to his help. Or I will leave my arrows and the fiery belt of my quiver, I will lash Phoibos (Phoebus) [Apollon] a willing victim with cords of laurel leaves, holding him bound in a belt of speaking iris. Indeed I fear not the strength of Enyalios [Ares], it will not weary me to flog Ares when he is shackled by the delightful cestus. The two luminaries I will drag down from heaven to be drudges in Paphos, and give my mother for a servant Phaethon [Helios the Sun] with Klymene (Clymene) [his wife], Selene [the Moon] with Endymion [her husband], that all may know that I vanquish all things!’ He spoke, and straight through the air he plied his feet, and reached the dwelling of eager Aphrodite long before Aglaia with his pair of whirring wings. His mother with serene countenance took him into her embrace, and threw one happy arm round her boy, lifting him on her knees, a welcome burden. He sat there while she kissed the boy’s lips and eyes; then she touched his mindcharming bow, and handled the quiver, and pretending to breathe anger, spoke these delusive words : ‘My dear child, you have forgotten Phaethon [Helios the Sun] and Kythereia (Cytherea) [Aphrodite]! Pasiphae no longer wants the Bull’s love. Helios mocks at me, and arms the offspring of Astris, the warrior Deriades his own daughter’s son, to destroy the Bassarides of womanmad Dionysos and to rout the love-stricken Satyroi (Satyrs) of Bromios. But it has provoked me more than all, that battlestirring Ares in mortal shape, with Enyo by his side, without regard for his old love of Aphrodite, ahs armed himself against Dionysos at Hera’s bidding and supports the Indian king. Now then, on this field Ares if for Deriades–then you fight for Lyaios (Lyaeus) [Dionysos]. He has a spear, you have a stronger bow, before which bend the knee Zeus the Highest and furious Ares and Hermes the lawgiver; even that Archer Apollon fears your bow. If you will give a boon to your Foamborn, fight for the Bassarides and Dionysos. Go I pray, to the Eastern clime and let no one catch you–go to the Indian plain, where there is a handmaid of Lyaios amongst the Bakkhantes (Bacchantes), more excellent than her yearsmates, named Khalkomede (Chalcomede), who loves the maiden state–but if you should see Khalkomede and Kypris (Cypris) both together in Libanos (Lebanon), you cannot tell which was Aphrodite, my dear boy! Go to that place and help Dionysos ranging the wilds, by shooting Morrheus for the beauty of Khalkomedeia. I will give you a Worthing prize for your shooting, a wellmade Lemnian chaplet, like the rays of fiery Helios (the Sun). Shoot a sweet arrow, and you will do a grace both to Kypris and to dionysos; honour my bridesmaid bird of love [the dove] and yours, the herald of lifelong wedding and happy hearts!’ So spoke the goddess; and Eros wildly leapt from his mother’s lap and took up his bow, slung the allvanquishing quiver about his little shoulder, and sailed away on his wings through the air; round Kerne (Cerne) he turned his flight opposite the rays of morning, smiling that he had set afire that great charioteer of the heavenly car with his little darts, and the light of the loves had conquered the light of Helios (the Sun). Soon he was moving in the midst of the Indian host, and laid his bow against the neck of Khalkomedeia, aiming the shaft round her rosy cheek, and sent it into the heart of Morrheus. Then paddling his way with the double beat of his floating wings he mounted to the starry barriers of his father [i.e. Ouranos (Uranus, Sky) father of Aphrodite who emerged fully grown and pregnant with Eros from bloody foam of Ouranos’ castration], leaving the Indian transfixed with the fiery shaft. Now Morrheus moved lovesick this way and that way, struck by the arrow of desire, wherever the maiden went; the sword he lifted was tame, his spear hung idle, his bold spirit was lashed by the cestus of love, he turned his enamoured gaze all about and moved his eyes at the bidding of Kypri (Cypris)s, uncomforted.»
Nonnus, Dionysiaca 33. 238 ff : «He [Morrheus] softened his voice to womanish love-prattle, as the arrow of nightly love quivered beneath his heart :
‘Bow and arrows of Ares, I have done with you; for another shaft and a better constrains me, the arrow of desire! I have done with you, quiver! The cestus-strap has conquered my shieldsling. No more I equip a fighting hand against Bassarides. The gods of my nation, Water and Earth, I will leave, and set up altars both to Kypris (Cypris) [Aphrodite] and Dionysos; I will throw away the brazen spear of Enyalios [Ares] and Athene.’»
Nonnus, Dionysiaca 34. 34 ff : «[Morrheus in love :] Perhaps that allvanquishing braggart Himeros (Desire) has been aiming at you bridal sparks from his unresting quiver.»
EROS, APHRODITE & THE LOVE OF MEDEA
Eros-Cupid riding crab, Greco-Roman fresco from Pompeii C1st A.D., Naples National Archaeological Museum After the arrival of the Argonauts in Kolkhis (Colchis), the goddess Hera conspires to have Medea fall in love with Jason to assist the hero in his quest for the Golden Fleece. To this end she petitions Aphrodite have her son Eros strike the princess with his darts.
Apollonius Rhodius, Argonautica 3. 25 ff (trans. Rieu) (Greek epic C3rd B.C.) : «[Hera addresses Athene (Athena) :] ‘We must have a word with Aphrodite. Let us go together and ask her to persuade her boy, if that is possible, to loose an arrow at Aeetes’ daughter, Medea of the many spells, and make her fall in love with Iason (Jason) . . .’ The solution to their problem pleased Athene, who smilingly replied : ‘Sprung as I am from Zeus, I have never felt the arrows of the Boy, and of love-charms I know nothing.’»
Apollonius Rhodius, Argonautica 3. 82 ff : «[Hera addresses Aphrodite :] ‘All we require of you is quietly to tell your boy to use his wizardry and make Aeetes’ daughter fall in love with Iason (Jason) . . .’ ‘But ladies,’ said Kypris (Cypris) [Aphrodite], speaking now to both of them [i.e. Hera and Athene], ‘he is far more likely to obey you than me. There is no reverence in him, but faced by you he might display some spark of decent feeling. He certainly pays no attention to me: he defies me and always does the opposite of what I say. In fact I am so worn out by his naughtiness that I have half a mind to break his bow and wicked arrows in his very sight, remembering how he threatened me with them in one of his moods. He said, «If you don’t keep your hands off me while I can still control my temper, you can blame yourself for the consequences.»’ Hera and Athene smiled at this and exchanged glances. But Aph rodite was hurt. She said : ‘Other people find my troubles amusing. I really should not speak of them to all and sundry; it is enough for me to know them. However, as you have both set your hearts on it, I will try and coax my boy. He will not refuse.’ Hera took Aphrodite’s slender hand in hers and with a sweet smile replied : ‘Very well, Kytherea (Cytherea). Play your part, just as you say; but quickly, please. And do not scold or argue with your child when he annoys you. He will improve by and by.’ With that she rose to go. Athene followed her, and the pair left for home. Kypris (Cypris) too set out, and after searching up and down Olympos for her boy, found him far away in the fruit-laden orchard of Zeus. With him was Ganymede, whose beauty had so captivated Zeus that he took him up to heaven to live with the immortals. The two lads, who had much in common, were playing with golden knuckle-bones. Eros, the greedy boy, was standing there with a whole handful of them clutched to his breast and a happy flush of mantling his cheeks. Near by sat Ganymede, hunched up, silent and disconsolate with only two left. He threw these for what they were worth in quick succession and was furious when Eros laughed. Of course he lost them both immediately–they joined the rest. So he went off in despair with empty hands and did not notice the goddess’s approach. Aphrodite came up to her boy, took his chin in her hand and said : ‘Why this triumphant smile, you rascal? I do believe you won the game unfairly be cheating a beginner. But listen now. Will you be good and do me a favour I am going to ask of you? Then I will give you one of Zeus’s lovely toys, the one that his fond nurse Adresteia (Adrastia) made for him in the Idaian cave when he was still a child and liked to play. It is a perfect ball; Hephaistos (Hephaestus) himself could not make you a better toy. It is made of golden hoops laced together all the way round with double stitching; but the seams are hidden by a winding blue band. When you throw it up, it will leave a fiery trail behind it like a meteor in the sky. That is what I’ll give you, if you let fly an arrow at Aeetes’ girl [Medea] and make her fall in love with Iason (Jason). But you must act at once, or I may not be so generous.’ When he heard this, Eros was delighted. He threw down all his toys, flung his arms round his mother and hung on to her skirt with both hands, imploring her to let him have the ball at once. But she gently refused, and drawing him towards her, held him close and kissed his cheeks. Then with a smile she said, ‘By your own dear head and mine, I swear I will not disappoint you. You shall have the gift when you have shot an arrow into Medea’s heart.’ Eros gathered up his knuckle-bones, counted them all carefully, and put them in the fold of his mother’s shining robe. Fetching his quiver from where it leant against a tree, he slung it on his shoulder with a golden strap, picked up his crooked bow, and made his way through the luxuriant orchard of Zeus’ palace. Then he passed through the celestial gates of Olympos, where a pathway for the gods leads down, and twin poles, earth’s highest points, soar in lofty pinnacles that catch the first rays of the risen sun. And as he swept on through the boundless air he saw ever-changing scene beneath him, here the life-supporting land with its peopled cities and its sacred rivers, here mountain peaks, and hear the all-encircling sea . . . Eros, passing through the clear air, had arrived unseen and bent on mischief, like a gladfly setting out to plague the grazing heifers, the fly that cowherds call the breese. In the porch, under the lintel of the door, the quickly strung his vow and from his quiver took a new arrow, fraught with pain. Still unobserved, he ran across the threshold glancing around him sharply. Then he crouched low at Iason’s feet, fitted the notch to the middle of the string, and drawing the bow as far as his hands would stretch, shot at Medea. And her heart stood still. With a happy laugh Eros sped out of the high-roofed hall on his way back, leaving his shaft deep in the girl’s breast, hot as fire. Time and again she darted a bright glance at Iason (Jason). All else was forgotten. Her heart, brimful of this new agony, throbbed within her and overflowed with the sweetness of the pain.»
Apollonius Rhodius, Argonautica 3. 449 ff : «Medea retired, a prey to all the inquietude that Eros awakens.»
Apollonius Rhodius, Argonautica 3. 7762 ff : «Her [Medea’s] whole body was possessed by agony, a searing pain which shot along her nerves and deep into the nape of her neck, that vulnerable spot where the relentless archer of Eros causes the keenest pangs.»
Apollonius Rhodius, Argonautica 4. 55 ff : «[Selene the Moon addresses Medea :] ‘The little god of mischief has given you Iason, and many a heartache with him. Well, go your way; but clever as you are, steel yourself now to face a life of sighs and misery.’ So said Selene.»
Apollonius Rhodius, Argonautica 4. 446 ff : «Unconscionable Eros, bane and tormentor of mankind, parent of strife, fountain of tears, source of a thousand ills, rise mighty Power, and fall on the ons of our enemies with all the force you used upon Medea when you filled her with insensate fury [i.e. she plotted the murder of her own brother for the love of Iason (Jason)].»
Philostratus the Younger, Imagines 8 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «[Ostensibly a description of an ancient Greek painting depicting a scene from Apollonius’ Argonautica :] [Aphrodite, Hera and Athena approach Eros who is playing a game with Ganymedes.] . . .
What do the goddesses desire and what necessity brings them together? The Argo carrying its fifty heroes has anchored in the Phasis after passing through the Bosphoros (Bosphorus) and the Clashing Rocks . . . While the sailors of the Argo are considering the situation, the goddesses have come as suppliants to be Eros that he assist them in saving the sailors by going to fetch Medeia (Medea), the daughter of Aietes (Aeetes); and as pay for this service his mother shows him a ball which she says was once a plaything of Zeus. Do you see the clever art of the painting? The ball itself is of gold; the stitching on it is such as to be assumed by the mind rather than seen by the eye, and spirals of blue encircle it; and very likely, when it is tossed in the air, the radiance emanating from it will lead us to compare it with the twinkling of stars. As for Eros, he no longer even looks at the dice, but throwing them on the ground he clings to his mother’s [Aphrodite’s] dress, begging her to make good her promise to him; for, he says, he will not fail in the task.»
Philostratus the Younger, Imagines 7 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : «[From a description of an ancient Greek painting depicting the meeting of Iason (Jason) and Medea :] Eros (Love) is claiming this situation as his own, and he stands leaning on his bow with his legs crossed, turning his torch towards the earth, inasmuch as the work of love is as yet hardly begun.»
Valerius Flaccus, Argonautica 8. 232 ff (trans. Mozley) (Roman epic C1st A.D.) : «Venus [Aphrodite] smiled upon the lovers [Jason and Medea in matrimony], and Cupid [Eros] with his pleadings roused Aeetes’ daughter [Medea] from the gloomy thoughts that vexed her; Cytherea [Aphrodite] clothes the girl with her own robe of saffron texture, and gives her own twofold coronal and the jewels destined to burn upon another bride.»
ANCIENT GREEK & ROMAN ART
K32.1 Eros Playing Flute
Athenian Red Figure Vase Painting C5th B.C.
K32.9 Eros Bearing Fawn
Athenian Red Figure Vase Painting C5th B.C.
K32.2 Eros Herald of Love
Athenian Red Figure Vase Painting C5th B.C.
K32.3 Eros Flying
Athenian Red Figure Vase Painting C5th B.C.
K32.10 Eros Holding Wreath
Apulian Red Figure Vase Painting C4th B.C.
K32.12 Eros Chasing Deer
Apulian Red Figure Vase Painting C4th B.C.
K12.20 Eros, Dionysus, Ariadne
Athenian Red Figure Vase Painting C4th B.C.
O6.1 Eros, Peitho, Demonassa
Athenian Red Figure Vase Painting C5th B.C.
K10.1 Aphrodite, Eros, Zeus
Apulian Red Figure Vase Painting C4th B.C.
K46.1 Eros, Pompe, Dionysus
Athenian Red Figure Vase Painting C4th B.C.
K9.1 Ares, Aphrodite, Eros
Athenian Red Figure Vase Painting C5th B.C.
K32.4 Iaso, Eros, Himeros
Athenian Red Figure Vase Painting C5th B.C.
K4.5 Aphrodite, Eros, Paris
Athenian Red Figure Vase Painting C5th B.C.
K10.7 Aphrodite, Eros, Paris
Athenian Red Figure Vase Painting C5th B.C.
K32.5 Phaedra, Eros, Nurse
Optional content and buttons for Thumbnail #1
K32.6 Aphrodite, Eros, Lovers
Apulian Red Figure Vase Painting C4th B.C.
K10.2 Eros, Birth of Aphrodite
Athenian Red Figure Vase Painting C4th B.C.
K10.4 Aphrodite, Eros, Hermes
Apulian Red Figure Vase Painting C4th B.C.
K18.1 Heracles, Hebe, Eros
Athenian Red Figure Vase Painting C5th B.C.
K32.8 Eros & Racing Atalanta
Athenian Red Figure Vase Painting C5th B.C.
K31.6 Aphrodite, Erotes Chariot
Athenian Red Figure Vase Painting C5th B.C.
K10.11 Aphrodite & Erotes
Athenian Red Figure Vase Painting C5th B.C.
K10.10 Aphrodite, Adonis, Eros
Athenian Red Figure Vase Painting C5th B.C.
K31.1 Himeros, Eros, Pothos
Athenian Red Figure Vase Painting C5th B.C.
K31.4 Aphrodite, Erostasia
Athenian Red Figure Vase Painting C4th B.C.
K31.7 Aphrodite, Erostasia
Apulian Red Figure Vase Painting C4th B.C.
K32.7 Eros Riding Deer
Athenian Red Figure Vase Painting C5th B.C.
F31.2 Eros-Cupid Riding Crab
Greco-Roman Pompeii Wall Fresco C1st A.D.
F31.1 Eros-Cupid Flying
Greco-Roman Pompeii Wall Fresco C1st A.D.
Z31.4 Eros-Cupid Riding Dolphin
Greco-Roman Zeugma Floor Mosaic C2nd A.D.
Z31.10 Eros-Cupid Riding Dolphin
Greco-Roman Zeugma Floor Mosaic A.D.
Z31.8 Eros-Cupid Riding Dolphin
Greco-Roman Bulla Regia Mosaic A.D.
Z31.7 Eros-Cupid Riding Aegipan
Greco-Roman Rome Floor Mosaic A.D.
Z31.6 Eros-Cupid Fishing
Greco-Roman Antioch Mosaic A.D.
Z31.9 Eros-Cupid Riding Tiger
Greco-Roman Naples Mosaic A.D.
Z31.14 Eros-Cupid Picking Grapes
Greco-Roman Carthage Mosaic C4th A.D.
Z31.11 Eros-Cupid & Wooden Cow
Greco-Roman Zeugma Floor Mosaic A.D.
Z10.1 Eros & Birth of Aphrodite
Greco-Roman Zeugma Floor Mosaic C2nd A.D.
Z33.3 Aphrodite & Eros
Greco-Roman Antioch Floor Mosaic C3nd A.D.
Z31.1 Eros-Cupid & Psyche
Greco-Roman Antioch Floor Mosaic C3rd A.D.
Z31.2 Eros-Cupid & Psyche
Greco-Roman Zeugma Floor Mosaic C2nd A.D.
Z31.3 Eros-Cupid & the Psychae
Greco-Roman Antioch Floor Mosaic C3rd A.D.
F10.1 Eros & Birth of Aphrodite
Greco-Roman Pompeii Wall Fresco C1st A.D.
F10.2 Aphrodite, Ares, Eros
Greco-Roman Pompeii Wall Fresco C1st A.D.
F9.1 Aphrodite, Ares, Eros
Greco-Roman Pompeii Wall Fresco C1st A.D.
F10.5 Aphrodite & Eros
Greco-Roman Pompeii Wall Fresco C1st A.D.
F10.4 Aphrodite & Eros
Greco-Roman Pompeii Wall Fresco C1st A.D.
Z1.2 Europa, Zeus as Bull, Eros
Greco-Roman Sparta Floor Mosaic C4th A.D.
Z12.22 Dionysus, Ariadne, Eros
Greco-Roman Phillipoplis Floor Mosaic A.D.
Z12.14 Dionysus, Ariadne, Eros
Greco-Roman Syria Floor Mosaic C3rd A.D.
Z2.8 Poseidon, Amymone, Eros
Greco-Roman Paphos Floor Mosaic C3rd A.D.
Z31.12 Eros-Cupid Fishing
Greco-Roman Antioch Mosaic C4th A.D.
Z31.13 Eros-Cupid Fishing
Greco-Roman Antioch Floor Mosaic A.D.
S31.1 Eros-Cupid
Greco-Roman Marble Statue
S31.2 Eros-Cupid
Greco-Roman Marble Statue
S31.3 Eros-Cupid
Greco-Roman Marble Statue
S31.4 Eros-Cupid
Greco-Roman Marble Statue
S31.5 Eros-Cupid
Greco-Roman Marble Statue
S31.6 Eros-Cupid
Greco-Roman Marble Statue
S38.1 Eros Riding Centaur
Greco-Roman Marble Statue
S10.4 Aphrodite, Pan, Eros
Greco-Roman Marble Statue
S10.14 Aphrodite & Eros
Greco-Roman Marble Statue
S10.17 Aphrodite & Eros
Greco-Roman Marble Statue
S10.8 Aphrodite & Eros
Greco-Roman Marble Statue
SOURCES (ALL EROS PAGES)
GREEK
Hesiod, Theogony – Greek Epic C8th – 7th B.C.
Greek Lyric I Alcman, Fragments – Greek Lyric C7th B.C.
Greek Lyric I Alcaeus, Fragments – Greek Lyric C6th B.C.
Greek Lyric I Sappho, Fragments – Greek Lyric C6th B.C.
Greek Lyric II Anacreon, Fragments – Greek Lyric C6th B.C.
Greek Lyric II Anacreontea, Fragments – Greek Lyric C5th – 4th B.C.
Greek Lyric III Ibycus, Fragments – Greek Lyric C6th B.C.
Greek Lyric III Simonides, Fragments – Greek Lyric C6th – 5th B.C.
Greek Lyric IV Bacchylides, Fragments – Greek Lyric C5th B.C.
Greek Lyric IV Corinna, Fragments – Greek Lyric C5th B.C.
Greek Elegaic Theognis, Fragments – Greek Elegaic C6th B.C.
Plato, Phaedrus – Greek Philosophy C4th B.C.
Plato, Republic – Greek Philosophy C4th B.C.
Plato, Symposium – Greek Philosophy C4th B.C.
Apollonius Rhodius, The Argonautica – Greek Epic C3rd B.C.
Strabo, Geography – Greek Geography C1st B.C. – C1st A.D.
Pausanias, Description of Greece – Greek Travelogue C2nd A.D.
Plutarch, Lives – Greek Historian C1st – 2nd A.D.
The Orphic Hymns – Greek Hymns C3rd B.C. – C2nd A.D.
Aelian, On Animals – Greek Natural History C2nd – 3rd A.D.
Philostratus the Elder, Imagines – Greek Rhetoric C3rd A.D.
Philostratus the Younger, Imagines – Greek Rhetoric C3rd A.D.
Callistratus, Descriptions – Greek Rhetoric C4th A.D.
Oppian, Halieutica – Greek Poetry C3rd A.D.
Nonnus, Dionysiaca – Greek Epic C5th A.D.
Colluthus, The Rape of Helen – Greek Epic C5th – 6th A.D.
Musaeus, Hero and Leander – Greek Poetry C6th A.D.
ROMAN
BIBLIOGRAPHY
A complete bibliography of the translations quoted on this page.