Uploaded May 2022 | Updated September 2026, 2 weeks ago
Who are the Muses? The nine daughters of Zeus and Mnemosyne serve a grand purpose in the inspiration of art, but They are so, so much more.
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Special thanks to JACandQuill for the Channel Emotes!
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Sources:
MARQUARDT, P. A. (1982). THE TWO FACES OF HESIOD’S MUSE. Illinois Classical Studies, 7(1), 1–12. jstor.org/stable/23061147
Ahearne-Kroll, S. P. (2014). Mnemosyne at the Asklepieia. Classical Philology, 109(2), 99–118. doi.org/10.1086/675272
DANA LACOURSE MUNTEANU. (2011). THE TRAGIC MUSE AND THE ANTI-EPIC GLORY OF WOMEN IN EURIPIDES’ TROADES. The Classical Journal, 106(2), 129–147. doi.org/10.5184/classicalj.106.2.0129
GOSLIN, O. (2010). Hesiod’s Typhonomachy and the Ordering of Sound. Transactions of the American Philological Association (1974-), 140(2), 351–373. jstor.org/stable/40890983
William Brockliss. (2018). Olympian Sound in the Theogony and the Catalogue of Women: Sweet Music and Disorderly Noise. The Classical Journal, 113(2), 129–149. doi.org/10.5184/classicalj.113.2.0129
Minchin, E. (1995). The Poet Appeals to His Muse: Homeric Invocations in the Context of Epic Performance. The Classical Journal, 91(1), 25–33. jstor.org/stable/3297771
Mathiesen, T. J. (2018). Apollo's lyre: Greek music and music theory in antiquity and the Middle Ages. University of Nebraska Press.
WILSON, P. (1999). Euripides’ Tragic Muse. Illinois Classical Studies, 24/25, 427–449. jstor.org/stable/23065380
Allen, A. W. (1949). Solon’s Prayer to the Muses. Transactions and Proceedings of the American Philological Association, 80, 50–65. doi.org/10.2307/283511
Who are the Muses? The nine daughters of Zeus and Mnemosyne serve a grand purpose in the inspiration of art, but They are so, so much more.
Become a Patron: patreon.com/Aliakai
Channel Kofi: ko-fi.com/aliakai
Research Material Wish List: amazon.com/hz/wishlist/ls/EB7VXSFG5PDR?ref_=wl_share
Twitter: twitter.com/Aliakai
Check out my Discord! discord.gg/5v6UmhUXHY
Special thanks to JACandQuill for the Channel Emotes!
twitter.com/JACandQuill
Sources:
MARQUARDT, P. A. (1982). THE TWO FACES OF HESIOD’S MUSE. Illinois Classical Studies, 7(1), 1–12. jstor.org/stable/23061147
Ahearne-Kroll, S. P. (2014). Mnemosyne at the Asklepieia. Classical Philology, 109(2), 99–118. doi.org/10.1086/675272
DANA LACOURSE MUNTEANU. (2011). THE TRAGIC MUSE AND THE ANTI-EPIC GLORY OF WOMEN IN EURIPIDES’ TROADES. The Classical Journal, 106(2), 129–147. doi.org/10.5184/classicalj.106.2.0129
GOSLIN, O. (2010). Hesiod’s Typhonomachy and the Ordering of Sound. Transactions of the American Philological Association (1974-), 140(2), 351–373. jstor.org/stable/40890983
William Brockliss. (2018). Olympian Sound in the Theogony and the Catalogue of Women: Sweet Music and Disorderly Noise. The Classical Journal, 113(2), 129–149. doi.org/10.5184/classicalj.113.2.0129
Minchin, E. (1995). The Poet Appeals to His Muse: Homeric Invocations in the Context of Epic Performance. The Classical Journal, 91(1), 25–33. jstor.org/stable/3297771
Mathiesen, T. J. (2018). Apollo's lyre: Greek music and music theory in antiquity and the Middle Ages. University of Nebraska Press.
WILSON, P. (1999). Euripides’ Tragic Muse. Illinois Classical Studies, 24/25, 427–449. jstor.org/stable/23065380
Allen, A. W. (1949). Solon’s Prayer to the Muses. Transactions and Proceedings of the American Philological Association, 80, 50–65. doi.org/10.2307/283511
