Musaeus of Athens (Greek: Μουσαῖος, Mousaios) was a legendary Greek polymath, philosopher, historian, prophet, seer, priest, poet, and musician, said to have been the founder of priestly poetry in Attica. He composed dedicatory and purificatory hymns and prose treatises, and oracular responses.
The Telegony (Ancient Greek: Τηλεγόνεια or Τηλεγονία, romanized: Tēlegóneia, Tēlegonía) is a lost epic poem of Ancient Greek literature. It is named after Telegonus, the son of Odysseus by Circe, whose name ("born far away") is indicative of his birth on Aeaea, far from Odysseus' home of Ithaca. It was part of the Epic Cycle of poems that recounted the myths of the Trojan War as well as the events that led up to and followed it. The story of the Telegony comes chronologically after that of the Odyssey and is the final episode in the Epic Cycle. The poem was sometimes attributed in antiquity to Cinaethon of Sparta (8th century BC), but in one source it is said to have been stolen from Musaeus by Eugammon of Cyrene (6th century BC) (see Cyclic poets). Its contents are known from surviving summaries by later authors, most notably Eutychius Proclus. The poem comprised two books of verse in dactylic hexameter.
Eugamon of Cyrene (Greek: Εὐγάμων ὁ Κυρηναῖος) was an early Greek poet to whom the epic Telegony was ascribed. According to Clement of Alexandria, he stole the poem from the legendary early poet Musaeus; meaning, possibly, that a version of a long-existing traditional epic was written down by Eugamon. He is said to have flourished 567/6 BC, about two centuries after other cyclic poets like Homer.
Iccus of Taranto (Ancient Greek: Ἴκκος) (5th century BC) was a Magna Grecia Olympic athlete, a victor during the 84th Games (444 BC) or 70th Games (470 BC) according to older sources. He is considered the father of athletic dietology. He prepared himself physically before competing according to ethical-religious Pythagorean concepts by abstaining from sexual intercourse and a frugal diet specially prepared. He also taught these principles. Pausanias calls him the best gymnast of his age, and Plato also mentions him with great praise.
Iamblichus calls him a Pythagorean. According to Themistius, Plato reckoned him among the sophists. Specifically, in Plato's dialogue Protagoras, the sophist Protagoras lists Iccus alongside Homer, Hesiod, Simonides, Orpheus, Musaeus, Herodicus, Agathocles tutor of Damon, and Pythoclides as fellow sophists (that is, improvers of youth) who chose to present themselves as poets, athletes, or musicians for fear of public disapproval.
In Greek mythology, Amalthea or Amaltheia (Ancient Greek: Ἀμάλθεια) is the figure most commonly identified as the nurse of Zeus during his infancy. She is described either as a nymph who raises the child on the milk of a goat, or, in some accounts from the Hellenistic period onwards, as the goat itself.
As early as the archaic period, there exist references to the "horn of Amalthea" (known in Latin as the cornucopia), a magical horn said to be capable of producing endless amounts of any food or drink desired. In a narrative attributed to the mythical poet Musaeus, and likely dating to the 4th century BC or earlier, Amalthea, a nymph, nurses the infant Zeus and owns a goat which is terrifying in appearance. After Zeus reaches adulthood, he uses the goat's skin as a weapon in his battle against the Titans. Amalthea is first described as a goat by the 3rd-century BC poet Callimachus, who presents a rationalised version of the myth, in which Zeus is fed on Amalthea's milk. Aratus, also writing in the 3rd century BC, identifies Amalthea with the star Capella, and describes her as "Olenian" (the meaning of which is unclear).
In Greek mythology, Linus (Ancient Greek: Λῖνος Linos "flax") was a reputed musician and master of eloquent speech. He was regarded as the first leader of lyric song.
The Eretria Painter was an ancient Greek Attic red-figure vase painter. He worked in the final quarter of the 5th century BC. The Eretria Painter is assumed to have been a contemporary of the Shuvalov Painter; he is considered one of the most interesting painters of his time. Many of his best works are painted on oinochoai and belly lekythoi. His paintings often depict many figures, moving in groups across all available surfaces. He also painted such vessels as figure-shaped vases or head-shaped kantharoi. Even as the vase shapes he painted on are unusual, his themes are conventional: athletes, satyrs and maenads, and mythological scenes. There are also some careful studies of women. He also painted white-ground vases. A lekythos in New York shows a funeral scene, typical of white-ground painting: Achilles is mourning Patroclus; the nereids bring him new weapons. The Eretria Painter's drawing style influenced later artists, e.g. the Meidias Painter and his school.
The Orphic Hymns are a collection of eighty-seven ancient Greek hymns addressed to various deities, which were attributed in antiquity to the mythical poet Orpheus. They were composed in Asia Minor (located in modern-day Turkey), most likely around the 2nd or 3rd centuries AD, and were used in the rites of a religious community which existed in the region. The Hymns are among the few extant works of Orphic literature (the tradition of texts attributed to Orpheus in antiquity), and recent scholars have observed parallels between the collection and other Orphic works.
The collection is preceded by a proem (or prologue), in which Orpheus addresses the legendary poet Musaeus, and calls upon around seventy deities to be present. The individual hymns in the collection, all of which are brief, typically call for the attention of the deity they address, before describing them and highlighting aspects of their divinity, and then appealing to them with a request. The descriptions of deities consist primarily of strings of epithets (titles or adjectives applied to gods), which make up a substantial portion of the hymns' content, and are designed to summon the powers of the god. The deity featured most prominently in the collection is Dionysus, who is the recipient of eight hymns, and is mentioned throughout the collection under various names. Most of the deities featured in the Hymns are derived from mainstream Greek mythology, and a number are assimilated with one another.