In Ancient Writings
The Muses' genesis came about in ancient Greek and Roman poetry written by a variety of authors, including Hesiod, Bacchylides, and Pindar. In a few of these works, descriptions of the Muses or insight into their genealogical lines are given. However, in most sources, the Muses are mentioned in an effort to draw inspiration. Below are descriptions of some of the authors who described and called upon the Muses as well as examples from their works which relate to the Muses.
Hesiod
Born around the middle 8th century BC, Hesiod was a poet whose most well-known works include the Theogony and Works and Days. As an oral poet, Hesiod would have developed his poems over time, perhaps changing them to suit his audience. He was often compared to Homer in his style, which makes sense due to the fact that they would have lived around the same time (or perhaps Hesiod a century later). Unlike Homer, however, Hesiod did not specialize in epic poetry.
Hesiod is perhaps one of the most instrumental sources regarding the Muses. One of his most renowned works, the Theogony, begins with a hymn to the Muses, providing a description of Hesiod's mythological encounter with them in which they hand him a piece of laurel (which is a symbol of achievement) and say to him, "Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things." (Theogony, p5). This quote's meaning has been debated by many scholars, as it is seemingly contradictory. One such opinion argues that the Muses are telling him that he will tell the truth, whereas Homer tells lies; however, a less accusatory interpretation suggests that the Muses are providing Hesiod "the power of imagination" (Wade-Gery, p86). Because imagination is, in its essence, a lie but is based on the true thoughts and suggestions of one's mind, it fits this seemingly contradictory statement and following passages coincide with its concept.
As Hesiod continues his description of the Muses, he explains each of their conception, birth, and role in nature. "Uttering through their lips a lovely voice", the Muses are described as singing "heavenly song", delighting all others with their music. (Theogony, p7). Hesiod then lists each Muse's name, identifying Calliope as the eldest. Associating the Muses with great power, he claims that "happy is he whom the Muses love". (Theogony, p7).
While other sources claim that the Muses were born from other genealogical lines, Hesiod's account is the most widely accepted.
Hesiod is perhaps one of the most instrumental sources regarding the Muses. One of his most renowned works, the Theogony, begins with a hymn to the Muses, providing a description of Hesiod's mythological encounter with them in which they hand him a piece of laurel (which is a symbol of achievement) and say to him, "Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things." (Theogony, p5). This quote's meaning has been debated by many scholars, as it is seemingly contradictory. One such opinion argues that the Muses are telling him that he will tell the truth, whereas Homer tells lies; however, a less accusatory interpretation suggests that the Muses are providing Hesiod "the power of imagination" (Wade-Gery, p86). Because imagination is, in its essence, a lie but is based on the true thoughts and suggestions of one's mind, it fits this seemingly contradictory statement and following passages coincide with its concept.
As Hesiod continues his description of the Muses, he explains each of their conception, birth, and role in nature. "Uttering through their lips a lovely voice", the Muses are described as singing "heavenly song", delighting all others with their music. (Theogony, p7). Hesiod then lists each Muse's name, identifying Calliope as the eldest. Associating the Muses with great power, he claims that "happy is he whom the Muses love". (Theogony, p7).
While other sources claim that the Muses were born from other genealogical lines, Hesiod's account is the most widely accepted.
Pindar
Click the image to hear what Pindar's First Pythian Ode would have sounded like.
Born in the late 6th century BC, Pindar was a Greek lyric poet. His works have been described as complex and difficult to follow, but he has also been regarded as one of the greatest of the lyric poets in his time. (Baker). Pindar has been highly criticized, both in his time as well as in modern days, due to his style of writing and subject matter. His personality as a member of the aristocracy can be seen in his texts, whose diction is "lofty and elevated" (Baker, p80).
Pindar referenced the Muses in many of his works, including his Pythian Odes. The First Pythian Ode begins with a praise to the Lyre which was created by the gods and belongs to Apollo and "the black hair'd Nine". (Pythian 1, line 2). The Ode continues to describe harmony in relation to the "tuneful Throng/Of Muses, skill'd in Wisdom's deepest Lore". (lines 48-9). The next few lines juxtapose this, however, with a description of those on earth found despicable by Zeus. In hearing their song, the people are envious because they were "Exil'd from Praise, from Virtue, and the Muse". (line 54). In this poem, the reader sees the concept of the Muse in two different lights. In the first lines, the Muse is called upon for inspiration (by way of addressing the Lyre), such as is the case in many other Greek works. However, in the later lines, the Muse is portrayed as a symbol of goodness - but in what way? The Muses' representations (poetry, song, history, astronomy, etc) account for the subjects that were taught to Greek adolescents as part of their education. So perhaps Pindar is suggesting that these people were exiled not only from nobility/honor ("Praise") and goodness/wisdom ("Virtue") but also from education and skill ("the Muse"). It also suggests, of course, a pysical separation between the people and the Muses, but its philosophical implications provide for a more thorough understanding of the poem's meaning and the naivete of human beings.
Pindar referenced the Muses in many of his works, including his Pythian Odes. The First Pythian Ode begins with a praise to the Lyre which was created by the gods and belongs to Apollo and "the black hair'd Nine". (Pythian 1, line 2). The Ode continues to describe harmony in relation to the "tuneful Throng/Of Muses, skill'd in Wisdom's deepest Lore". (lines 48-9). The next few lines juxtapose this, however, with a description of those on earth found despicable by Zeus. In hearing their song, the people are envious because they were "Exil'd from Praise, from Virtue, and the Muse". (line 54). In this poem, the reader sees the concept of the Muse in two different lights. In the first lines, the Muse is called upon for inspiration (by way of addressing the Lyre), such as is the case in many other Greek works. However, in the later lines, the Muse is portrayed as a symbol of goodness - but in what way? The Muses' representations (poetry, song, history, astronomy, etc) account for the subjects that were taught to Greek adolescents as part of their education. So perhaps Pindar is suggesting that these people were exiled not only from nobility/honor ("Praise") and goodness/wisdom ("Virtue") but also from education and skill ("the Muse"). It also suggests, of course, a pysical separation between the people and the Muses, but its philosophical implications provide for a more thorough understanding of the poem's meaning and the naivete of human beings.
Bacchylides
Bacchylides was born during the very late 6th century BC, after Pindar. He was said to have a fruitful imagination and became a very successful lyric poet. Scholars believe that somewhat of a rivalry existed between Bacchylides and Pindar. According to Ralph M. Rosen, many of Pindar's works contained "hostile allusions" to Bacchylides, perhaps because Bacchylides' works were generally more preferred than his, although some scholars believe otherwise (Rosen, p13).
Bacchylides seemed to have taken a particular interest in Clio, mentioning her by name in three of his recovered fragments of work. In fact, in the 13th fragment, he attributes his poetic abilities to her by stating that "If it was indeed Clio who made [the song] drip into my heart, there will be delight in the words of the songs that proclaim him to the people". ("Clio, theoi.com"). Further, in a review by Arthur Platt and others regarding Bacchylides' fragments, an examination of line 193 explores the idea that Bacchylides felt that he "must not disparage Clio" but that he "may disparage himself". (Platt, p73). Perhaps his obsession with this Muse in particular can be attributed to the meaning her name: literally, "make famous". As a poet, Bacchylides already has the ability to make people famous in his own right, but it is not necessarily his words that will make himself famous. In this text, he places the power and trust to become renowned into the hands of Clio.
Bacchylides seemed to have taken a particular interest in Clio, mentioning her by name in three of his recovered fragments of work. In fact, in the 13th fragment, he attributes his poetic abilities to her by stating that "If it was indeed Clio who made [the song] drip into my heart, there will be delight in the words of the songs that proclaim him to the people". ("Clio, theoi.com"). Further, in a review by Arthur Platt and others regarding Bacchylides' fragments, an examination of line 193 explores the idea that Bacchylides felt that he "must not disparage Clio" but that he "may disparage himself". (Platt, p73). Perhaps his obsession with this Muse in particular can be attributed to the meaning her name: literally, "make famous". As a poet, Bacchylides already has the ability to make people famous in his own right, but it is not necessarily his words that will make himself famous. In this text, he places the power and trust to become renowned into the hands of Clio.