Hesiod – Theogony

Original: Μουσάων Ἑλικωνιάδων ἀρχώμεθ’ ἀείδειν , αἵθ’ Ἑλικῶνος ἔχουσιν ὄρος μέγα τε ζάθεόν τε καί τε περὶ κρήνην ἰοειδέα πόσσ’ ἁπαλοῖσιν ὀρχεῦνται καὶ βωμὸν ἐρισθενέος Κρονίωνος .

Translation: Let us begin to sing of the Muses , the Heliconian ones , who dwell on great and holy Helicon , and dance around the violet-spring with their soft feet , and around the altar of mighty Kronion .

Note

This opening line of Hesiod's Theogony establishes the poet's invocation to the Muses, a standard feature of epic poetry known as an invocation or proem. The sentence employs a chiasmic structure in the description of the Muses' activities and the objects they surround: they 'dwell' (εἰχουσιν) on the mountain, and 'dance' (ὀρχεῦνται) around the spring and altar. The use of the enclitic conjunctions τε and καί (specifically the pattern τε... τε... and καί... καί... though here varied) creates a rhythmic, incantatory quality typical of oral tradition. The adjective 'violet-colored' (ἰοειδέα) applied to the spring highlights the lush, fertile nature of Mount Helicon, a place sacred to both the Muses and Dionysus. 'Kronion' is an epithet for Zeus, son of Kronos, emphasizing his supreme power; the use of the patronymic rather than the name itself adds a layer of traditional formulaic language. The phrase 'soft feet' (πόσσ' ἀπαλοῖσιν) is a poetic characterization of the divine dancers, contrasting their ethereal nature with human physicality.

Original: καί τε λοεσσάμεναι τέρενα χρόα Περμησσοῖο ἢ Ἵππου κρήνης ἢ Ὀλμειοῦ ζαθέοιο ἀκροτάτῳ Ἑλικῶνι χοροὺς ἐνεποιήσαντο καλούς , ἱμερόεντας ·

Translation: And after washing their tender flesh at the spring of Parnassus , the Hippocrene , and at the holy spring of Olmeus on the highest peak of Helicon , they formed beautiful , enchanting choruses .

Note

The sentence employs a periphrastic construction where the participle λοεσσάμεναι (having washed) sets the temporal and causal context for the main verb ἐνεποιήσαντο (they made/formed). The text utilizes asyndeton in the listing of the two springs, connected only by the coordinating conjunction τε...τε (both...and) embedded within the participial phrase, creating a rhythmic enumeration of sacred sites. The epithet ζαθέοιο (holy/divine) applied to the spring of Olmeus highlights the religious significance of the location, a common feature in Hesiod's theogonic geography where specific springs are associated with the Muses. The phrase ἀκροτάτῳ Ἑλικῶνι (on the highest peak of Helicon) uses the superlative adjective to emphasize the elevated, sacred nature of the mountain. The final adjectives καλούς (beautiful) and ἱμερόεντας (desirable/enchanting) form a hendiadys-like pair, intensifying the aesthetic appeal of the choruses, which are central to the cultic life of the Muses. The syntax reflects the oral tradition of Hesiod, where the accumulation of divine attributes and locations builds a sense of grandeur and sanctity.

Original: ἐπερρώσαντο δὲ ποσσίν .

Translation: And they strengthened themselves with their feet .

Note

The verb ἐπερρώσαντο is a deponent middle voice aorist form of ἐπιρρώομαι, meaning 'to strengthen oneself' or 'to become strong.' In this context, the middle voice suggests the subjects performed the action upon themselves, often implying a physical or spiritual fortification. The dative plural ποσσίν ('feet') functions as an instrumental dative, indicating the means by which the action was accomplished. This phrase describes the Hesiodic Muses, who, after appearing to the shepherds, inspire them with their song, effectively 'strengthening' them through their presence and words. The use of 'feet' metaphorically suggests the act of standing firm or moving forward in a state of renewed vigor, possibly alluding to the Muses' ability to embolden the shepherds to continue their pastoral duties or to sing. The particle δέ serves a connective function, linking this action to the preceding narrative.

Original: ἔνθεν ἀπορνύμεναι , κεκαλυμμέναι ἠέρι πολλῇ , ἐννύχιαι στεῖχον περικαλλέα ὄσσαν ἱεῖσαι , ὑμνεῦσαι Δία τ’ αἰγίοχον καὶ πότνιαν Ἥρην Ἀργεΐην , χρυσέοισι πεδίλοις ἐμβεβαυῖαν , κούρην τ’ αἰγιόχοιο Διὸς γλαυκῶπιν Ἀθήνην Φοῖβόν τ’ Ἀπόλλωνα καὶ Ἄρτεμιν ἰοχέαιραν ἠδὲ Ποσειδάωνα γεήοχον , ἐννοσίγαιον , καὶ Θέμιν αἰδοίην ἑλικοβλέφαρόν τ’ Ἀφροδίτην Ἥβην τε χρυσοστέφανον καλήν τε Διώνην Λητώ τ’ Ἰαπετόν τε ἰδὲ Κρόνον ἀγκυλομήτην Ἠῶ τ’ Ἠέλιόν τε μέγαν λαμπράν τε Σελήνην Γαῖάν τ’ Ὠκεανόν τε μέγαν καὶ Νύκτα μέλαιναν ἄλλων τ’ ἀθανάτων ἱερὸν γένος αἰὲν ἐόντων .

Translation: From there , having taken their leave , they went forth , shrouded in much mist , by night , to strike the most beautiful voice , to hymn Zeus the aegis-bearer and Lady Hera of Argos , clad in golden sandals , and the daughter of aegis-bearing Zeus , bright-eyed Athena , and Phoebus Apollo and Artemis the archer , and Poseidon the earth-shaker , and holy Themis , and Aphrodite with the turning eyelids , and Hebe with the golden crown , and beautiful Dione , and Leto , and Iapetus , and Cronus the crooked-counselled , and Dawn , and great Helios , and bright Selene , and Gaia , and great Oceanus , and dark Night , and the sacred race of all the immortals who have always been .

Note

This sentence is a complex participial and infinitival construction describing the movement and purpose of the Muses (implied by the context of 'from there' and the list of deities). The sentence employs extensive epithets, a hallmark of Homeric and Hesiodic style, which serve both mnemonic and descriptive functions. Notable epithets include 'aegis-bearing' (αιγιόχοον) for Zeus, 'bright-eyed' (γλαυκώπιν) for Athena, 'earth-shaker' (εὐνοσίγαιον) for Poseidon, and 'crooked-counselled' (ἀγκυλομήτην) for Cronus. The use of 'by night' (ἐννύχιαι) contrasts with the presence of celestial bodies like Dawn and Helios later in the list, suggesting a cosmic scope of their song that transcends specific times of day. The sentence utilizes asyndeton (the omission of conjunctions) in the final list of deities to create a rapid, accumulating rhythm, while the repeated use of the enclitic particle 'te' (τε) before each name creates a rhythmic, incantatory quality typical of hymnic poetry. The phrase 'to strike the most beautiful voice' (περικαλέα ὀσσαν ἰείσαι) uses 'osson' (voice) in the accusative, governed by the infinitive 'iēsai' (to send forth), indicating the act of producing the song. The final clause 'the sacred race of all the immortals who have always been' (ἄλλων τ᾽ ἀθανάτων ἱερὸν γένος αἰὲν ἐόντων) acts as a comprehensive summary, elevating the specific list to a universal category of divine beings.

Original: αἵ νύ ποθ’ Ἡσίοδον καλὴν ἐδίδαξαν ἀοιδήν , ἄρνας ποιμαίνονθ’ Ἑλικῶνος ὕπο ζαθέοιο .

Translation: For truly once they taught Hesiod the beautiful song , while he was tending lambs under the holy Helicon .

Note

The sentence utilizes the particle combination 'αἵ νυ' (ainu) to introduce a statement with emphatic certainty, often found in epic poetry to assert a divine or foundational truth. The verb 'ἐδίδαξαν' (they taught) takes a double accusative construction: 'Ἡσίοδον' (Hesiod) as the indirect object (person taught) and 'αἰδήν' (song) as the direct object (thing taught). The adjective 'καλἡν' (beautiful) modifies 'αἰδήν', a common epithet for poetry in the Hesiodic tradition, signifying its divine origin and aesthetic perfection. The participle 'ποιμαίνονθ'' (tending/shepherding) functions adverbially to describe the state of Hesiod at the time of the instruction. The preposition 'ὑπό' (under) with the genitive 'Ἑλικῶνος' (Helicon) indicates the location, while 'ζαθέοιο' (holy/divine) describes Mount Helicon, emphasizing its status as the sacred seat of the Muses. The syntax reflects the narrative style of the Theogony, where the poet recounts his own initiation by the divine figures.

Original: τόνδε δέ με πρώτιστα θεαὶ πρὸς μῦθον ἔειπον , Μοῦσαι Ὀλυμπιάδες , κοῦραι Διὸς αἰγιόχοιο ·

Translation: To this story the goddesses spoke to me first : Muses of Olympus , daughters of aegis-bearing Zeus .

Note

This verse features an invocation of the Muses, a standard convention in epic poetry to request divine inspiration for the narrative. The phrase 'to this story' (τοῦνδε... μῦθον) refers to the specific myth Hesiod is about to recount. The epithet 'aegis-bearing' (αἰγιόχοιο) is a characteristic Homeric and Hesiodic formula for Zeus, referring to his protective aegis. The sentence structure uses apposition (Μοῦσαι... καὶ Διὸς αἰγιόχοιο) to define the 'goddesses' (θεαί) more specifically. The adverb 'first' (πρωτίστα) emphasizes the initial nature of this divine communication to the poet.

Original: ποιμένες ἄγραυλοι , κάκ’ ἐλέγχεα , γαστέρες οἶον , ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα , ἴδμεν δ’ , εὖτ’ ἐθέλωμεν , ἀληθέα γηρύσασθαι .

Translation: Shepherds of the field , evil rebukes , bellies only , we know that we can tell many false things resembling the true things , and we know , whenever we wish , to proclaim the true things .

Note

This sentence features a famous chiasmus in its structure, contrasting the ability to speak falsehoods (lines 8-12) with the ability to speak the truth (lines 14-21). The vocative 'shepherds of the field' (ποιμενες ἀγραυλοι) is an ironic address to the Muses, referring to their origin as rustic figures or their perceived role in deceiving mortals. The phrase 'evil rebukes' (κακ' ελεγχέα) functions as a parenthetical apposition, expressing the poet's frustration with their deceptive nature. The metaphor 'bellies only' (γαστερες ὀιον) suggests that the Muses' knowledge is driven by physical desire or appetite rather than divine insight, a common motif in Greek literature regarding the unreliability of poetic inspiration when it is not guided by truth. The sentence utilizes asyndeton in the first clause, omitting conjunctions to create a rapid, accusatory rhythm. The use of the perfect tense 'we know' (ἴδμεν) emphasizes the speaker's settled, experiential knowledge of the Muses' dual capacity. The verb γηρύσασθαι (to proclaim or report) is a poetic term often associated with the authoritative voice of the poet or the divine messenger.

Original: ὣς ἔφασαν κοῦραι μεγάλου Διὸς ἀρτιέπειαι ·

Translation: Thus spoke the daughters of great Zeus , the ever-spoken-of ones .

Note

The sentence employs the adverb ὡς (hōs) to introduce a clause of manner or result, meaning 'thus' or 'in this way,' which serves as a standard formulaic transition in epic narrative. The verb ἐφασαν (ephasan) is an aorist indicative active of φημί, used here in the sense of 'to say' or 'to speak,' a verb frequently associated with authoritative declaration in Homeric and Hesiodic poetry. The subject, κοῦραι (kourai), refers to the Muses, daughters of Zeus and Mnemosyne. The adjective μεγάλου (megálou) emphasizes Zeus's supreme power and stature, a common epithet in theogonic contexts. The term αὐριεπεῖαι (arripeiai) is a rare and distinctive compound adjective meaning 'true-speaking' or 'those who speak with truth,' derived from αὐρίς (truth) and εἶπον (to speak). This epithet highlights the Muses' role as bearers of divine truth and their authority in recounting the origins of the cosmos. The structure of the sentence reflects the oral tradition's reliance on formulaic expressions to maintain rhythm and aid memory during recitation.

Original: καί μοι σκῆπτρον ἔδον δάφνης ἐριθηλέος ὄζον δρέψασαι , θηητόν ·

Translation: And give me the staff , having plucked the branch of the fruit-laden laurel , a marvel .

Note

The sentence describes a divine授受 (giving) of authority, symbolized by the 'staff' (σκῆπτρον), a common motif in Greek literature for royal or prophetic power. The participle δρεψασαι (having plucked) is aorist active feminine singular, agreeing with the implied female subject (likely a Muse or the speaker in an invocation context), and functions adverbially to indicate the manner or condition of the main action. The epithet εριθηλέος (fruit-laden) modifies δαφνης (laurel), emphasizing the vitality and sacredness of the plant, which was associated with Apollo and poetic inspiration. The final adjective θηητόν (a marvel, wondrous thing) acts as an appositional predicate to οζον (branch), heightening the sense of awe and divine wonder. The structure employs a direct imperative-like request (here rendered as a statement in the narrative context of the Theogony) followed by a descriptive participle phrase, creating a rhythmic flow typical of Hesiodic diction.

Original: ἐνέπνευσαν δέ μοι αὐδὴν θέσπιν , ἵνα κλείοιμι τά τ’ ἐσσόμενα πρό τ’ ἐόντα .

Translation: And they breathed divine speech into me , so that I might proclaim both the things that are to come and the things that have been .

Note

This sentence exemplifies the poet's divine inspiration (the Muses breathing 'divine speech' or 'inspired voice' into him) and his subsequent role as a prophetic narrator. The structure employs a chiastic relationship between the participles: 'things that are to come' (future) and 'things that have been' (past), emphasizing the poet's omniscient scope over time. The conjunction 'τε' (and) is enclitic and attached to the second item in the pair ('τ' ἐσσόμενα'), a common poetic device used to link closely related concepts. The use of the aorist subjunctive 'κλείοιμι' after 'ἵνα' (so that) expresses the purpose of the divine inspiration. The phrase 'θέσπιν αὐδὴν' is a key poetic collocation, signifying not just ordinary speech but divinely inspired utterance.