The earliest known records of the Muses come from Boeotia (Boeotian muses). Some ancient authorities regarded the Muses as of Thracian origin. [5] In Thrace, a tradition of three original Muses persisted. [6] In Aeschylus, Prometheus Bound 18, 211, 873 (Sommerstein, pp. 444–445 n. 2, 446–447 n. 24, 538–539 n. 113) Prometheus is made to be the son of Themis. Antoninus Liberalis, Metamorphoses 9 s.v. Emathides; Nicander tells this tale in his fourth book of his Heteroeumena ("Metamorphoses"). Siegfried de Rachewiltz, De Sirenibus: An Inquiry into Sirens from Homer to Shakespeare, 1987: chs: "Some notes on posthomeric sirens; Christian sirens; Boccaccio's siren and her legacy; The Sirens' mirror; The siren as emblem the emblem as siren; Shakespeare's siren tears; brief survey of siren scholarship; the siren in folklore; bibliography" Apollodorus, Epitome 7.18; Hyginus, Fabulae Preface, 125& 141; Tzetzes, Chiliades, 1.14, line 339 & 348

Four artists are drawn into a web of rivalry and desire at an elite art school and on the streets of New York in this “gripping, provocative, and supremely entertaining” (BuzzFeed) debut “Captures the ache-inducing quality of art and desire . . . a deeply relatable and profoundly enjoyable read, one drenched in prismatic color and light.”–Kristen Arnett, New York Times bestselling author of With Teeth It’s 2011: America is in a deep recession and Occupy Wall Street is escalating. But at the elite Wrynn College of Art, students paint and sculpt in a rarefied bubble. Louisa Arceneaux is a thoughtful, observant nineteen-year-old when she transfers to Wrynn as a scholarship student, but she soon finds herself adrift in an environment that prizes novelty over beauty. Complicating matters is Louisa’s unexpected attraction to her charismatic roommate, Karina Piontek, the preternaturally gifted but mercurial daughter of wealthy art collectors. Gradually, Louisa and Karina are drawn into an intense sensual and artistic relationship, one that forces them to confront their deepest desires and fears. But Karina also can’t shake her fascination with Preston Utley, a senior and anti-capitalist Internet provocateur, who is publicly feuding with visiting professor and political painter Robert Berger–a once-controversial figurehead seeking to regain relevance. When Preston concocts an explosive hoax, the fates of all four artists are upended as each is unexpectedly thrust into the cutthroat New York art world. Now all must struggle to find new identities in art, in society, and among each other. In the process, they must find either their most authentic terms of life–of success, failure, and joy–or risk losing themselves altogether. With a canny, critical eye, Sirens and Muses overturns notions of class, money, art, youth, and a generation’s fight to own their future. Sirens and Muses by Antonia Angress – eBook Details Chisholm, Hugh, ed. (1911). "Muses, The". Encyclopædia Britannica. Vol.19 (11thed.). Cambridge University Press. pp.59–60. Apollonius of Rhodes, Argonautica 4.892; Nonnus, Dionysiaca 13.309; Tzetzes, Chiliades, 1.14, line 338 & 348Etymology [ edit ] Print of Clio, made in the 16th-17th century. Preserved in the Ghent University Library. [1] The Muses had several temples and shrines in ancient Greece, their two main cult centres being Mount Helikon in Boiotia and Pieria in Makedonia. Detailed record for Royal 2 B VII (Queen Mary Psalter)". British Library . Retrieved 2022-09-06. , fol. 96v

Holford-Strevens (2006), p.31: There were "those who introduced the mermaid into the Latin Physiologus and the bestiaries thence derived". Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and with Pieris. It was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the Muses, also known as pegasides, were born. [17] [18] Athena later tamed the horse and presented him to the Muses (compare the Roman inspiring nymphs of springs, the Camenae, the Völva of Norse Mythology and also the apsaras in the mythology of classical India). Perry, "The sirens in ancient literature and art", in The Nineteenth Century, reprinted in Choice Literature: a monthly magazine (New York) 2 (September–December 1883:163). Bibliothèque nationale de France, ms. Latin 6838 B". Mandragore. Archived from the original on 2021-09-18 . Retrieved 2022-09-10. It’s2011:America is in a deep recession and Occupy Wall Street is escalating. But at the elite Wrynn College of Art, students paint and sculpt in a rarefied bubble. Louisa Arceneaux is a thoughtful, observant nineteen-year-old when she transfers to Wrynn as a scholarship student, but she soon finds herself adrift in an environment that prizes novelty over beauty. Complicating matters is Louisa’s unexpected attraction to her charismatic roommate, Karina Piontek, the preternaturally gifted but mercurial daughter of wealthy art collectors. Gradually, Louisa and Karina are drawn into an intense sensual and artistic relationship, one that forces them to confront their deepest desires and fears. But Karina also can’t shake her fascination with Preston Utley, a senior and anti-capitalist Internet provocateur, who is publicly feuding with visiting professor and political painter Robert Berger—a once-controversial figureheadseekingto regain relevance.Hymenaeus was assigned as Apollo's son by one of the muses, either Calliope, or Clio, or Terpsichore, or Urania. Corybantes were the children of Thalia and Apollo.

Connecting: Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. The first-century Roman historian Pliny the Elder discounted sirens as a pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces." [52] Sirens and death [ edit ] Odysseus and the Sirens, Roman mosaic, second century AD ( Bardo National Museum) H]olds the reader’s attention like a gallery so compelling that a visitor is torn between staring at one work and rushing on to the next room.” — Glamour A counterexample is also given where the illustrated sirens (group of three) are bird-like, conforming to the text. [84] (As hybrid) Convincing and moving . . . Angress’ portrayal of the intersection—or disconnect—of art, politics, idealism, and practicality within the web of familial, romantic, and professional relationships is painterly, in the best sense of the word.” —Minneapolis Star Tribune

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Hugh of St. Victor (d.1240), De bestiis et aliis rebus XCVII, quoted in Latin by Mustard (1908), p.23, and in translation by Holford-Strevens (2006), p.32: "sirens.., as the Physiologus describes them have a woman's form above down to the navel, but their lower part down to the feet has the shape of a fish". The work continues "excerpts from Servius and Isidore" to say: "three Sirens, part maids, part fish, of whom one sang,..etc.". But despite attribution to Hugh, this work had so heavily interpolated that it has been actually a 16th century compilation, and dubbed a "problematic" bestiary. Cf. Clark (2006), pp.10–11: Chapter 1: The Problematic De bestiis et aliis rebus.