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Linus was said [21] to have been the son of Apollo and one of the Muses, either Calliope or Terpsichore or Urania. Rhesus was the son of Strymon and Calliope or Euterpe.
Thus the comb and mirror, which are now emblematic of mermaids across Europe, derive from the bestiaries that describe the siren as a vain creature requiring those accoutrements. [95] [96] Verse bestiaries [ edit ] Diodorus states (Book I.18) that Osiris first recruited the nine Muses, along with the satyrs, while passing through Aethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went.The siren was illustrated as a woman-fish (mermaid) in the Bern Physiologus dated to the mid 9th century, even though this contradicted the accompanying text which described it as avian. [24] An English-made Latin bestiary dated 1220–1250 also depicted a group of sirens as mermaids with fishtails swimming in the sea, even though the text stated they resembled winged fowl ( volatilis habet figuram) down to their feet. [78] [e]
Antoninus Liberalis, The Metamorphoses of Antoninus Liberalis translated by Francis Celoria (Routledge 1992). Online version at the Topos Text Project. 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 ispainterly, in the best sense of the word.” —MinneapolisStarTribune 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.” — GlamourAfter consulting together, the Sirens agreed to enter the contest. Of course, they had heard of the Muses’ legendary music, but they also knew that the power of their own songs. Waugh, Arthur (1960). "The Folklore of the Merfolk". Folklore. 71 (2): 78–79. doi: 10.1080/0015587x.1960.9717221. JSTOR 1258382. Pakis, Valentine A. (2010). "Contextual Duplicity and Textual Variation: The Siren and Onocentaur in the Physiologus Tradition". Mediaevistik. 23: 115–185. doi: 10.3726/83014_115. JSTOR 42587769.