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Erato

Muse of erotic and lyric poetry in Greek mythology

Erato

Summary

Muse of erotic and lyric poetry in Greek mythology

FieldValue
typeGreek
nameErato
imageErato monte calvo.jpg
captionRoman statue of Erato (2nd century AD), playing the kithara or lyre
god_ofGoddess of erotic and lyrical poetry
symbolsLyre, kithara
member_ofthe Muses
abodeMount Olympus
parentsZeus and Mnemosyne
siblingsEuterpe, Polyhymnia, Urania, Clio, Calliope, Thalia, Terpsichore, Melpomene and several paternal half-siblings
consortMalus (Μάλος)
childrenCleophema
Erato on an antique fresco from [[Pompeii

In Greek mythology, Erato (; ) is one of the Muses, associated with erotic lyric poetry. The name would mean "desired" or "lovely", if derived from the same root as Eros, as Apollonius of Rhodes playfully suggested in the invocation to Erato that begins Book III of his Argonautica.

Function

Erato is the Muse of lyric poetry, particularly erotic poetry, and mimic imitation. In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she has mostly been shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument often associated with Apollo. In Simon Vouet's representations, two turtle-doves are eating seeds at her feet. She is sometimes depicted holding a golden arrow, symbolizing "eros", the feeling she inspires in everybody; at times she is accompanied by Eros, holding a torch.

Family

In Hesiod's genealogy, Erato is the daughter of Zeus and the Titaness Mnemosyne, and the sister to Calliope, Clio, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia and Urania.

Her father gave Erato to Malus (eponym of Malea), as a bride and by him became the mother of Cleophema who bore Aegle (Coronis) by Phlegyas.

Development

''Erato'' by [[Simon Vouet

Erato was named with the other muses in Hesiod's Theogony. She was also invoked at the beginning of a lost poem, Rhadine (Ῥαδινή), that was referred to and briefly quoted by Strabo. The love story of Rhadine made her supposed tomb on the island of Samos a pilgrimage site for star-crossed lovers in the time of Pausanias and Erato has linked again with love in Plato's Phaedrus; nevertheless, even in the third century BC, when Apollonius wrote, the Muses were not yet as inextricably linked to specific types of poetry as they became.

Erato is also invoked at the start of book 7 of Virgil's Aeneid, which marks the beginning of the second half or "Iliadic" section of the poem.

Notes

References

References

  1. Bloch, para. 1.
  2. [[Apollonius of Rhodes. Apollonius Rhodius]], ''[[Argonautica]]'' [http://www.gutenberg.org/files/830/830-h/830-h.htm#2H_4_0005 3.1–5]
  3. (24 June 2012). "Kithara".
  4. [[Hesiod]], ''[[Theogony]]'' 53 ff., 78, 915 ff.; [[Bibliotheca (Pseudo-Apollodorus). Apollodorus]], 1.3.1; [[Diodorus Siculus]], ''[[Bibliotheca historica]]'' 4.7.1
  5. [[Isyllus]], ''Hymn to Asclepius'' [http://www.attalus.org/poetry/paeans.html#F 128.37 ff.]
  6. In ''Geography'' 8.3.20; Strabo's attribution of the poem to [[Stesichorus]] was refuted by H. J. Rose, "Stesichoros and the Rhadine-Fragment", ''The Classical Quarterly'' '''26'''.2 (April 1932), pp. 88–92.
  7. [[Pausanias (geographer). Pausanias]], ''Graeciae Descriptio'' 7.5.13
  8. [[Plato]], ''[[Phaedrus (dialogue). Phaedrus]]'' 259
  9. Richard Hunter, editor. ''Jason and the Golden Fleece'' (Oxford: Clarendon Press, 1993), p. 66 note.
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