Eos

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In ancient

Eos fell in love with mortal men several times, and would abduct them in similar manner to how male gods did mortal women. Her most notable mortal lover is the Trojan prince Tithonus, for whom she ensured the gift of immortality, but not eternal youth, leading to him aging without dying for an eternity. In another story, she carried off the Athenian Cephalus against his will, but eventually let him go for he ardently wished to be returned to his wife, though not before she denigrated her to him, leading to the couple parting ways. Several other lovers and romances with both mortal men and gods were attributed to the goddess by various poets throughout the centuries.

Eos figures in many works of ancient literature and poetry, but despite her

Etymology

The

In Mycenaean Greek her name is also attested in the form 𐀀𐀺𐀂𐀍 in Linear B, a-wo-i-jo (Āw(ʰ)oʰios; Ἀϝohιος),^[a][7] found in a tablet from Pylos;^[b] it has been interpreted as a shepherd's personal name related to "dawn",^{[8][9][10][11]} or dative form Āwōiōi.^[12]

Heinrich Wilhelm Stoll offered a different (now rejected) etymology for ἠὼς, linking it to the verb αὔω, meaning "to blow", "to breathe."^[13]

Lycophron calls her by an archaic name, Tito, meaning "day" and perhaps etymologically linked to "Titan".^[14] Karl Kerenyi observes that Tito shares a linguistic origin with Eos's lover Tithonus, which belonged to an older, pre-Greek language.^[15]

Origins

Proto-Indo-European dawn goddess

All four of the aforementioned goddesses sharing a linguistic connection with Eos are considered derivatives of the

Eos's characterization as a lovestruck, sexual being who took many lovers is directly inherited from her PIE precursor.^[19] A common and widespread theme among Hausos's descendants is their reluctance to bring the light of the new day.^[20][4] Eos (and Aurora) is sometimes seen as unwilling to leave her bed in the morning, while Uṣas is punished by Indra for attempting to forestall the day, and the Latvian Auseklis was said to be locked up in a golden chamber so she could not always rise in the morning.^[21]

This Indo-European goddess of the dawn was often conflated and equated with Hemera, the goddess of the day and daylight.^[22] Eos might have also played a role in Proto-Indo-European poetry.^[16]

Connection to Aphrodite

Eos also shares some characteristics with the love goddess Aphrodite connoting perhaps a semi-shared origin or influence of Eos/*H_aéusōs on Aphrodite, who otherwise has a Near Eastern origin;^[23] both goddesses were known for their erotic beauty and aggressive sexuality, both had relationships with mortal lovers, and both were associated with the colors red, white, and gold.^[24] Michael Janda etymologizes Aphrodite's name as an epithet of Eos meaning "she who rises from the foam [of the ocean]"^[25] and points to Hesiod's Theogony account of Aphrodite's birth as an archaic reflex of Indo-European myth.^[25] On the other hand however, it is generally accepted that Aphrodite's name etymology is Semitic in origin, and its exact meaning and derivation cannot be determined.^[26] Evidence is also provided by an Italic red-figure krater in which Aphrodite is shown holding a mirror beneath a solar disc while the Theban hero Cadmus slays the dragon, with a female figure nearly identical to Aphrodite being depicted on another krater labelled "ΑΩΣ", or Aṓs, the dawn; this shows that although Aphrodite is assimilated to Astarte/Inanna, in Greek artistic tradition she is sometimes presented in a similar matter to Eos.^[27]

Aphrodite, like Eos, is predator and not prey, as no tales of men assaulting Aphrodite exist, but there are many where she abducts mortal men reversing the traditional theme of gods and men pursuing maidens, in the same fashion as Eos.^[28] Not only does Aphrodite abduct or seduce mortal men as Eos does, but even cites Eos' own adventures with Tithonus when she seduces Anchises.^[19][29] The two goddesses are presented as both maleficent and beneficent abductors, as they confer both death (maleficent) and preservation (beneficent) to their mortal lovers.^[30] The two goddesses exist almost side by side in the myth of Phaethon of Syria, with Eos as his mother and Aphrodite as his lover and abductor.^[31] Moreover, another telling point is how the name “Aoos” is recorded as both a name for Adonis, Aphrodite’s East-originating lover, and a son of Eos by Cephalus (like Phaethon) who became king of Cyprus, an island that was regarded as Aphrodite’s birthplace. This suggest a mixture of Mycenaean and Phoenician religions on the island; it is possible that Aoos was originally a generic name used for Eos’ son or lover, which was then attached to Aphrodite in the form of a consort of the same name as she developed from Eos.^[32]

Description

Eos is usually described with rosy fingers or rosy forearms as she opened the gates of heaven for the

She is pictured on Attic vases as a beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird. In Homer,^[37] her saffron-colored robe is embroidered or woven with flowers.^[38] Mesomedes of Crete used χιονοβλέφαρος for her, "she who has snow-white eyelids",^[39] while Ovid described her as "golden".^[40] The delicate and fragile beauty of her appearance seems to be in total contrast with the carnal nature that was often attributed to her in myth and literature.^[41]

Family

Parents

According to Greek cosmogony, Eos is the daughter of the Titans Hyperion and Theia: Hyperion, a bringer of light, the One Above, Who Travels High Above the Earth and Theia, The Divine,^[42] also called Euryphaessa, "wide-shining"^[43] and Aethra, "bright sky".^[44] Eos is the sister of Helios, the god of the sun, and Selene, the goddess of the moon, "who shine upon all that are on earth and upon the deathless gods who live in the wide heaven".^[45] Out of the four authors that give her and her siblings a birth order, two make her the oldest child, the other two the youngest.^[c] In some accounts, Eos's father was called Pallas,^[46][47] who is also confirmed to the be father of Eos's sister Selene in some rare traditions.^[48] Even though the two goddesses are still connected as sisters in the traditions going with lineage from Pallas, their brother Helios is never included with them in those versions, being consistently the son of Hyperion. Mesomedes made her the daughter of Helios, who is usually her brother, by an unnamed mother.^[39] Some authors made her the child of Nyx, the personification of the night,^[49] who is the mother of Hemera in the Theogony.

Offspring

Eos married the Titan

From the Iliad:

Now when Dawn in robe of saffron was hastening from the streams of Oceanus, to bring light to mortals and immortals, Thetis reached the ships with the armor that the god had given her.^[61]

...

But soon as early Dawn appeared, the rosy-fingered, then gathered the folk about the pyre of glorious Hector.^[62]

That brightest of stars appeared,

Eosphoros, that most often heralds the light of early-rising Dawn (Eos Erigeneia).^[63]

Near the end of the Odyssey, Athena, wanting to buy Odysseus some time with his wife Penelope after they have reunited with each other, orders Eos not to yoke her two horses, thus delaying the coming of the new day:

And rose-fingered Dawn would have shone for the weepers had not bright-eyed goddess Athena thought of other things. She checked the long night in its passage, and further, held golden-throned Dawn over Ocean and didn't let her yoke her swift-footed horses, that bring daylight to men, Lampus and Phaethon, the colts that carry Dawn.^[64]

In the

Orphic literature

Eos is addressed by the singer in one of the Orphic Hymns, as the bringer of the new day:

Hear, O goddess, you bring the light of day to mortals
resplendent Dawn, you blush throughout the world
messenger of the great, the illustrious Titan.

— Orphic Hymn 78 to the Dawn.^[68]

The position of the hymn in the collection at number 78 is odd, far from the Hymns to the Night (3), the Sun (8) and the Moon (9), where it would be expected to be grouped.^[69] While many of the Orphic hymns describe the divinities in terms on light, the hymn to Eos is the only one that calls upon the divinity to provide light to the initiates.^[69]

Divine horses

Eos's team of horses pull her chariot across the sky and are named in the Odyssey as "Firebright" and "Daybright". Quintus described her exulting in her heart over the radiant horses (Lampus and Phaëton) that drew her chariot, amidst the bright-haired Horae, the feminine Hours, the daughters of Zeus and Themis who are responsible for the changing of the seasons, climbing the arc of heaven and scattering sparks of fire.^[70]

Lovers

In spite of the goddess already having a husband in the face of her first cousin Astraeus, Eos is presented as a goddess who fell in love several times. According to

Pseudo-Apollodorus, it was the jealous Aphrodite who cursed her to be perpetually in love and have an insatiable sexual desire because Eos had once lain with Aphrodite's sweetheart Ares, the god of war.^[71] The curse caused her to abduct a number of handsome young men. This explanatory myth was the reason offered for Eos' ravenous sexual desires, as this pattern of behavior of hers was noticed by the ancient Greeks.^[69]

In the Odyssey, Calypso complains to Hermes about the male gods taking many mortal women as lovers, but not allowing goddesses to do the same. She brings up as example Eos’s love for the hunter Orion, who was killed by Artemis on the island of Ortygia.^[72] Apollodorus also mentions Eos’s love for Orion, and adds that she brought him to Delos, where he met Artemis and was subsequently slain by her.^[71] The good-looking Cleitus was snatched and made immortal by her.^[73]

Eos fell in love and abducted Cephalus, a son of Hermes, who is sometimes the same as or distinct from the Cephalus that was the husband of Procris, whom she also abducted.^[74]

Tithonus

The myth of Eos and

...old age already (withers?) all (my) skin, and
(my) hair (turned white) from black
] (my) knees do not carry (me)
] (to dance) like young fawns
] but what could I do?
] not possible to become (ageless?)
] rosy-armed Dawn [...]
carrying (to) the ends of the earth
] yet (age) seized (him)
] (immortal?) wife.

— Sappho, fragment 58.^[76]

The myth goes that Eos fell in love with and abducted Tithonus, a handsome prince from

In the account of Hieronymus of Rhodes from the third century BC, the blame is shifted from Eos and onto Tithonus, who asked for immortality but not agelessness from his lover, who was then unable to help him otherwise and turned him into a cicada.^[82] Propertius wrote that Eos did not forsake Tithonus, old and aged as he was, and would still embrace him and hold him in her arms rather than leaving him deserted in his cold chamber, while cursing the gods for his cruel fate.^[83]

This myth might have been used to explain why cicadas were particularly noisy during the early hours of the morning, when the dawn appears in the sky.^[84] Sir James George Frazer notes that there was a widespread notion among the ancient Greeks and other ancient peoples that the creatures that shed their skin renew their youth and get to live forever.^[85] It could also be a reference to the fact that the high-pitched talk of old men was compared to a cicada's singing, as evidenced in a passage from the Iliad.^[86] The ancient Greeks would use a cicada, the most musical of insects, sitting on a harp as an emblem of music.^[87] Cicadas were also believed to be able to survive off of dew alone, a substance closely associated with Eos.^[86]

Cephalus

The abduction of

Cephalus, troubled by her words, asked Eos to change his form into that of a stranger's, in order to secretly put Procris’s love for him to the test. Cephalus, now disguised, propositioned Procris, who at first declined but eventually gave in when he offered her money. He was hurt by her betrayal, and she left him in shame, but eventually they got back together. This time however it was Procris’s turn to doubt her husband’s fidelity; while hunting, he would often call upon the breeze ('

Antoninus Liberalis also largely follows the same tradition in his rendition of the myth, though his text contains a lacuna, jumping from Eos' abduction of Cephalus to him having doubts over Procris.^[93] The oldest extant account of the myth is attributed to Pherecydes, and the elements it contains were all kept by later poets; in his account however Eos plays no role in the myth.^[94] That being said, artistic evidence of Eos abducting a man that can be identified as Cephalus go as back as the early fifth century BC.^[95]

Role in wars

Gigantomachy

Eos played a small role in the battle of the earthborn Giants against the gods, known as the Gigantomachy, who rose in rebellion. When their mother, the earth goddess Gaia learned of a prophecy that the giants would perish at the hand of a mortal, Gaia sought to find a herb that would protect them from all harm; thus Zeus ordered Eos, as well as her siblings Selene (Moon) and Helios (Sun) not to shine so that she would not be able to seek for it, and harvested all of the plant for himself, denying Gaia the chance to make the Giants indestructible.^[96] Moreover, Eos is seen fighting against the Giants in the south frieze of the Pergamon Altar,^[97] which depicts the Gigantomachy, where she rides hither on either a horse or a mule^[98] right ahead of Helios, swinging herself on the back of her mount while a Giant already lies on the ground underneath her; a robe wound around her hips serves as her saddle-cloth.^[99] She is joined in fight against the Giants by her siblings, her mother Theia, and possibly, conjectured due to the disembodied wing to the right of Eos's shoulder, the goddess Hemera.^[98]

Trojan War

According to Hesiod, by her lover Tithonus, Eos had two sons, Memnon and Emathion.^[55] Memnon, king of Aethiopia, joined the Trojans in the Trojan War and fought against Achilles in battle. Much like Thetis, the mother of Achilles, did before her, Eos asked the smithing god Hephaestus with tears in her eyes to forge an armor for Memnon, and he, moved, did as told.^[100][101] Pausanias mentions images of Thetis and Eos both begging Zeus on behalf of their sons.^[102] In the end, it was Achilles who triumphed and slew Memnon in battle. Mourning greatly over the death of her son, Eos made the light of her brother, Helios the god of the sun, to fade, and begged Nyx, the goddess of the night, to come out earlier, so she could be able to freely steal her son's body undetected by the armies.^[103] After his death, Eos, perhaps with the help of Hypnos (Sleep) and Thanatos (Death), transported Memnon's dead body back to Aethiopia;^[104] she also asked Zeus to make her son immortal, and he granted her wish.^[100] Eos' role in the Trojan War saga mirrors that of Thetis herself; both are goddesses married to aging old men, both see their mortal sons die on the battlefield, and both arrange an afterlife/immortality of sorts for said sons.^[105]

Iconography

Although the romantic adventures of Eos is a common subject in pottery, so far as it is known, no vase depicts her with Orion or Cleitus, known lovers of hers, instead those vases fall into groups; those that depict Eos with a young hunter identified as Cephalus, and those that depict Eos with a youth holding a lyre, identified as Tithonus.

Other depictions of mythological scenes that include Eos are Memnon's battle with Achilles and Eos' pleading of Zeus for his safety, her seizing of Memnon's dead body, and the apotheosis of Alcmene (the mother of Heracles).^[113] Among Theia and Hyperion's children, she is the only one depicted with wings, as neither her brother nor her sister ever sport some in art.^[114]

Cult and temples

Eos, along with her brother and sister, is an

‘Least I may be of all the goddesses the golden heavens hold – in all the world my shrines are rarest.’

— 

Jupiter.^[116]

Although this could simply be an understated way for Eos to say that she has no temples or shrines whatsoever, nevertheless Ovid may therefore have known of at least two such shrines.[69] However if Eos did indeed have a handful of shrines and altars in ancient Greece or Rome, no knowledge of them remains.

The only traces of the goddess's worship can be found at

Among the

Although distinct deities in early works such as Hesiod's Theogony, later the tragic poets completely identified Eos with Hemera, the primordial goddess of the day;^[59][114] each of the three great Athenian tragedians, Euripides, Aeschylus and Sophocles, used "Hemera" for the goddess who abducts Tithonus or drives a chariot drawn by white horses at daybreak in some work.^[122] Both goddesses were said to be daughters of Nyx (Night), albeit Eos was much more commonly the daughter of Hyperion by his wife. Pausanias, when describing depictions of Eos's myths at Athens and Amyclae, he calls Eos by the name of Hemera.^[91] A scholion on the Odyssey mentions the abduction of the hunter Orion by "Hemera" (Eos in Homer).^[123][124] Eos, in contrast to Helios and Selene and more similarly to Hemera and Hemera's mother Nyx, embodies a part of the day and night cycle, instead of a celestial body.^[122] The Greek word "eos", meaning dawn, was some times used by writers to refer to the entire duration of the day, not just the morning.^[13]

Likewise, Eos was often referred to as Tito, another archaic word meaning day, and feminine equivalent to Titan, which is a common epithet of her brother Helios denoting his role as the creator of the day.^[15] Unlike Eos however, Hemera is little more than a name in Greek literature, with few and far between refences about her and with no unique mythology outside of her parentage and the few stories appropriated from Eos.^[125]

In culture

• 221 Eos, a large main-belt asteroid, was named after this goddess.
• The acidic compound Eosin was indirectly named after Eos.

Gallery

• Eos in art
• 
  Aurora and Cephalus from The Loves of the Gods fresco.
• 
  Eos driving a four-horse chariot, from an antique vase.
• 
  Eos in the sarcophagus of Selene and Endymion.
• 
  Fragments of Eos carrying off Cephalus, from Delos.
• 
  Eos abducts Tithonus,

  Archaeological Museum of Florence

  .
• 
  Eos and Tithonus, by Sebastiano Ricci.
• 
  Céphale and Aurore, François Boucher.
• 
  Eos carrying off a man in a relief from Milos.
• 
  A French clock with Eos.
• 
  Eos watches the battle between Memnon and Achilles.
• 
  Eos and Tithonus by Sebastiano Ricci.
• 
  Etruscan vase of Thesan (Eos) abducting Tinthu (Tithonus), circa 525–500 BC.
• 
  Goddess of Dawn, Jorgen Dreyer (1932)
• 
  Pocket watch with silver case with Eos and Cephalus (detail), 18th cent.

Genealogy

See also

• Aquarius
• Cumaean Sibyl, a mortal who was granted an extended lifetime but not eternal youth
• List of solar deities

Notes

References

1. ^
   ISBN 978-0-19-929668-2
   .
2. ^ ^{a b} Witzel, Michael (2005). Vala and Iwato: The Myth of the Hidden Sun in India, Japan, and beyond (PDF).
3. ^ ^{a b c} R. S. P. Beekes, Etymological Dictionary of Greek, Brill, 2009, p. 492.
4. ^
   ISBN 9780199280759
   .
5. ^ Miller 2014, pp. 219–220.
6. ^ Bernabé, Alberto; Luján, Eugenio R. Introducción al Griego Micénico: Gramática, selección de textos y glosario. Monografías de Filología Grega Vol. 30. Zaragoza: Prensas de la Universidad de Zaragoza. 2020. p. 234.
7. ^ Luján, Eugénio R. "Los temas en -s en micénico". In: Donum Mycenologicum: Mycenaean Studies in Honour of Francisco Aura Jorro. Edited by Alberto Bernabé and Eugenio R. Luján. Bibliothèque des cahiers de L'Institut de Linguistique de Louvain Vol. 131. Louvain-la-Neuve; Walpole, MA: Peeters. 2014. p. 68.
8. ^ Lejeune, Michel. "Une présentation du Mycénien". In: Revue des Études Anciennes. Tome 69, 1967, n° 3–4. p. 281. [DOI: https://doi.org/10.3406/rea.1967.3800]; www.persee.fr/doc/rea_0035-2004_1967_num_69_3_3800
9. ISBN 978-3-9814842-3-6
   .
10. ^ Davies, Anna Morpurgo (1972). "Greek and Indo-European semiconsonants: Mycenaean u and w". In: Acta Mycenaea, vol. 2 (M.S. Ruipérez, ed.). Salamanca: Universidad de Salamanca. p. 93.
11. ISBN 978-84-697-8214-9
    .
12. ^ Chadwick, John, and Lydia Baumbach. "The Mycenaean Greek Vocabulary". In: Glotta 41, no. 3/4 (1963): 198. Accessed March 12, 2021. http://www.jstor.org/stable/40265918.
13. ^ ^{a b} Stoll, p. 62
14. A Greek-English Lexicon
    .
15. ^ ^{a b} Kerenyi 1951, p. 199, note 637.
16. ^ ^{a b c} Burkert, p. 17
17. ^ Mallory & Adams 1997, p. 149; Jackson 2002, p. 79
18. ^ West, p. 186
19. ^ ^{a b} Kölligan 2007, p. 107.
20. ^ Mallory & Adams 1997, pp. 148–149, 161.
21. ^ Mallory & Adams 1997, p. 149.
22. ^
    S2CID 246274316
    . Retrieved December 22, 2021.
23. ^ Dumézil, 1934.
24. ^ Cyrino, p. 24
25. ^ ^{a b} Janda 2010, p. 65.
26. ^ West 2000, pp. 134–38.
27. ^ Dickmann-Boedeker 1974, p. 15.
28. ^ Ferrari, p. 54
29. ^ Nagy, p. 248
30. ^ Greene and Paxton, pp 47-52
31. ^ Kölligan 2007, pp. 107–108.
32. ^ ^{a b} Dickmann-Boedeker 1974, pp. 66-67.
33. ^ Nonnus: "Eos had just shaken off the wing of carefree sleep (Hypnos) and opened the gates of sunrise, leaving the lightbringing couch of Kephalos." (Dionysiaca 27. 1f, in A.L. Rouse's translation).
34. Aeolic
    form βροδόπαχυς, brodópakhus.
35. ^ Sappho, fragment 6 (trans. David A. Campbell, Vol. Greek Lyric I) [=Oxy. 2289 fr. 1 (a) + (b)].
36. ^ Sappho fragment 103 [= P. Oxy. 2294].
37. ^ Homer, Iliad viii.1 & xxiv.695
38. ^ Homer, Odyssey vi:48 etc
39. ^ ^{a b} Mesomedes, Hymn to the Sun 1
40. ^ Ovid; Metamorphoses 7.700 ff, Fasti 4.713 ff
41. ^ Bell, s.v. Eos
42. ^ ^{a b} Pseudo-Apollodorus, Bibliotheca 1.2.2
43. ^ ^{a b} Homeric Hymn 31 to Helios, 4–7.
44. ^
    Hyginus, Fabulae Preface
45. ^ ^{a b} Hesiod, Theogony 371–374
46. ^ Ovid, Fasti 4.373 ff.
47. Valerius Flaccus
    , Argonautica 2.72 ff.
48. Homeric Hymn 4 to Hermes 99–100
49. Quintus of Smyrna, Posthomerica 2.625–26; cf. Aeschylus, Agamemnon 265
50. Hyginus, Fabulae Preface; Nonnus, Dionysiaca
    6.18; 37.70, 47.340
51. ^ Cicero wrote: Stella Veneris, quae Φωσφόρος Graece, Latine dicitur Lucifer, cum antegreditur solem, cum subsequitur autem Hesperos; The star of Venus, called Φωσφόρος in Greek and Lucifer in Latin when it precedes, Hesperos when it follows the sun – De Natura Deorum 2, 20, 53.
    Pliny the Elder: Sidus appellatum Veneris … ante matutinum exoriens Luciferi nomen accipit … contra ab occasu refulgens nuncupatur Vesper (The star called Venus … when it rises in the morning is given the name Lucifer … but when it shines at sunset it is called Vesper) Natural History 2, 36
52. ^ Hesiod, Theogony 378–82; Pseudo-Apollodorus, Bibliotheca 1.2.4
53. Hyginus, Astronomica 2.25.1
54. ^ Quintus Smyrnaeus, Posthomerica 2.549; Pindar, Nemean Odes 6.54; Diodorus Siculus, Historic Library 4.75.4; Callistratus, Statuaram Descriptiones 9; Ovid, Fasti 4.713
55. ^
    Pseudo-Apollodorus, Bibliotheca 3.12.4
56. Hyginus, Astronomica 2.42.4
57. ^ Pausanias, Description of Greece 1.3.1; Hesiod, Theogony 986
58. ^ Pseudo-Apollodorus, Bibliotheca 3.14.3
59. ^ ^{a b} Smith, s.v. Eos
60. ^ Musaeus, Hero and Leander 4; 110
61. ^ Homer, Iliad xix.1
62. ^ Homer, Iliad xxiv.776
63. ^ Homer, Odyssey xiii.93
64. ^ Homer, Odyssey 13.241–246
65. ^ Hesiod, Theogony 378–382
66. ^ Ovid, Metamorphoses 13.621–2
67. ^ Hard, p. 46; Keightley, p. 55; Alcman fr. 57 Campbell.
68. ^ Orphic Hymn 78 to the Dawn 1–3, (Athanassakis & Wolkow, p. 61).
69. ^ ^{a b c d e} Athanassakis and Wolkow, p. 181
70. ^ Quintus Smyrnaeus, Posthomerica 1.48
71. ^ ^{a b} Pseudo-Apollodorus, Bibliotheca 1.4.4
72. ^ Homer, Odyssey 5.121–124
73. ^ Homer, Odyssey 15.250–251
74. ^ Smith, s.v. Cephalus 1, Cephalus 2; Hard, p. 47; see also Frazer's note on Apollodorus 1.9.4
75. ^ Homer, Odyssey 5.1: "And now, as Dawn rose from her couch beside Tithonos - harbinger of light alike to mortals and immortals." Trans. Samuel Butler.
76. ^ ^{a b} Sappho, fragment 58 [= Oxy. 1787 fr. 1. 4–25, fr. 2. 1 + fr. nov. (Lobel Σ. μ. p. 26)].
77. ^ Hansen, p. 48
78. ^ Homeric Hymn 5 to Aphrodite, lines 220–318; cf. Sappho, fr. 58 Campbell; Mimnermus, fr. 4 Gerber.
79. ^ Clearchus of Soli fragment 20 [= Zenobius 4.18.]
80. ^ Keightley, p. 63; Suda, s.v "Old Man Tithonus".
81. ^ Hellanicus fragment 142 (FGrH) [= Scholia on Homer's Iliad 3.151; scholia on the Odyssey 5.1 Archived 2023-01-03 at the Wayback Machine.
82. ^ Tsagalis and Markantonatos, p. 297
83. ^ Propertius, Elegies 2.18b
84. ^ Loeb Classical Library, Homeric Hymns, Homeric Apocrypha, Lives of Homer, 2003, p. 177, note 48
85. ^ See Frazer's note on Apollodorus 3.12.4
86. ^ ^{a b} Hard, p. 47
87. ^ "The Cicada". The Sydney Morning Herald. National Library of Australia. 21 January 1928. p. 21. Retrieved 7 June 2013.
88. ^ Mary R. Lefkowitz, "'Predatory' Goddesses" Hesperia 71.4 (October 2002, pp. 325-344) p. 326.
89. Hyginus, Fabulae 189; Ovid, Metamorphoses 7.703; Antoninus Liberalis, Collection of Transformations 41
90. ^ Ovid, Metamorphoses 7.700-722
91. ^ ^{a b} Pausanias remarking on the subjects shown in the Royal Stoa, Athens (1.3.1) and on the throne of Apollo at Amyclae (3.18.12).
92. Hyginus, Fabulae 189
93. ^ Antoninus Liberalis, Collection of Transformations 41
94. ^ Pherecydes of Athens FGrHist 3F 34 [= Scholia on Homer's Odyssey 1.320.]
95. ^ ^{a b} Cohen 2006, pp. 280–281.
96. ^ Apollodorus, Bibliotheca 1.6.2
97. ^ Picón and Hemingway, p. 47; LIMC 617 Eos 45
98. ^
    ISBN 9783112399330
    .
99. ^ Schmidt, p. 22
100. ^ ^{a b} Arctinus of Miletus, Aethiopis summary
101. ^ Virgil, Aeneid 8.384
102. ^ Pausanias, Description of Greece 5.22.2
103. ^ Philostratus of Lemnos, Imagines 1.7.2
104. ^ Currie, p. 51
105. ^ Price and Zelnick-Abramovitz, p. 94, "The two mothers, Thetis and Eos, are alike as well."
106. ^ Roberts, p. 567
107. ^ Collignon, p. 176
108. ^ Walters, p. 79
109. ^ Savignoni, p. 272
110. ^ ^{a b} Pache, p. 131
111. ^ Reitzammer, p. 41
112. ^ Reitzammer, p. 122
113. ^ Walters, p. 80
114. ^ ^{a b} Hard, p. 46
115. ^ ^{a b} Davidson in Ogden, p. 205
116. ^ Ovid, Metamorphoses 13.587 ff (translated by Melville)
117. ^ Meagher, p. 142 n. 137; scholia on Sophocles Oedipus at Colonus 91.
118. ^ Alcman, PMGF 1.
119. ^ Marilyn Y. Goldberg, "The 'Eos and Kephalos' from Cære: Its Subject and Date" American Journal of Archæology 91.4 (October 1987, pp. 605-614) p 607.
120. ^ Goldberg 1987:605-614 casts doubt on the boy's identification, in the context of Etruscan and Greek abduction motifs.
121. ^ Noted by Goldberg 1987: in I. Mayer-Prokop, Die gravierten etruskischen Griffspiegel archaischen Stils (Heidelberg) 1966, fig. 61.
122. ^ ^{a b} Oakley and Palagia, p. 47
123. ^ Euphorion fr. 66 Lightfoot [= fr. 103 Powell].
124. ^ Hard, p. 562
125. ^ Bell 1991, s.v. Hemera.
126. ^ Hesiod, Theogony 132–138, 337–411, 453–520, 901–906, 915–920; Caldwell, pp. 8–11, tables 11–14.
127. ^ Although usually the daughter of Hyperion and Theia, as in Hesiod, Theogony 371–374, in the Homeric Hymn to Hermes (4), 99–100, Selene is instead made the daughter of Pallas the son of Megamedes.
128. Hyginus Astronomica 2.25.1
     .
129. Oceanids, the daughters of Oceanus and Tethys, at Hesiod, Theogony 351, was the mother by Iapetus of Atlas, Menoetius, Prometheus, and Epimetheus, while according to Apollodorus, 1.2.3
     , another Oceanid, Asia was their mother by Iapetus.
130. Cleito
     .
131. ^ 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.

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Further reading

• Hatto, Arthur. T., Eos: An Enquiry into the Theme of Lovers' Meetings and Partings at Dawn in Poetry, 1965, Mouton & Co., the Hague. Google books.
• Jackson, Peter. "Πότνια Αὔως: The Greek Dawn-Goddess and Her Antecedent." Glotta 81 (2005): 116-23. Accessed May 10, 2020.
  JSTOR 40267187
  .
• Lefkowitz, Mary R. ""Predatory" Goddesses." Hesperia: The Journal of the American School of Classical Studies at Athens 71 (2002): 325-344. Accessed March 31, 2022.
  JSTOR 3182040
  .

External links

Wikimedia Commons has media related to Eos.

Look up Ἠώς in Wiktionary, the free dictionary.

• EOS from The Theoi Project
• EOS from Greek Mythology Link
• EOS from greekmythology.com
• EOS from Mythopedia