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Orion (mythology)

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For other uses, see Orion.
Not to be confused with Arion.
An engraving of Orion from Johann Bayer's Uranometria, 1603 (US Naval Observatory Library)

Orion (Greek Ωρίων or Ὠαρίων, Latin Orion)[1] was a giant huntsman of Greek mythology whom Zeus placed among the stars as the constellation of Orion.

Ancient sources tell several different stories about Orion. There are two major versions of his birth and several versions of his death. The most important recorded episodes are his birth somewhere in Boeotia, his visit to Chios where he met Merope and was blinded by her father, Oenopion, the recovery of his sight at Lemnos, his hunting with Artemis on Crete, his death by the blow of Artemis or of the giant scorpion which became Scorpio, and his elevation to the heavens. Most ancient sources omit some of these episodes and several tell only one. These various incidents may originally have been independent, unrelated stories and it is impossible to tell whether omissions are simple brevity or represent a real disagreement.

In Greek literature he first appears as a great hunter in Homer's epic the Odyssey, where Odysseus sees his shade in the underworld. The bare bones of his story are told by the Hellenistic and Roman collectors of myths, but there is no extant mythological record of his adventures comparable, for example, to that of Jason in Apollonius of Rhodes' Argonautica or Euripides' Medea; the entry in Ovid's Fasti for May 11 is a poem on the birth of Orion, but that is one version of a single story. The surviving fragments of legend have provided a fertile field for speculation about Greek prehistory and myth.

Orion served several roles in ancient Greek culture. The story of the adventures of Orion, the hunter, is the one on which we have the most evidence (and even on that not very much); he is also the personification of the constellation of the same name; he was venerated as a hero, in the Greek sense, in the region of Boeotia; and there is one etiological passage which says that Orion was responsible for the present shape of the Straits of Sicily.

Legends

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In Ancient Greece, Orion had a hero cult in the region of Boeotia. The number of places associated with his birth suggest that it was widespread.[2] Hyria, the most frequently mentioned, was in the territory of Tanagra. A feast of Orion was held at Tanagra as late as the Roman Empire.[3] They had a tomb of Orion[4] most likely at the foot of Mount Cerycius (now Mount Tanagra).[5][6] Maurice Bowra argues that Orion was a national hero of the Boeotians, much as Castor and Pollux were for the Dorians.[7] He bases this claim on the Athenian epigram on the Battle of Coronea in which a hero gave the Boeotian army an oracle, then fought on their side and defeated the Athenians.

The Boeotian school of epic poetry was chiefly concerned with the genealogies of the gods and heroes; later writers elaborated this web.[8] Several other myths are attached to Orion in this way: A papyrus fragment of the Boeotian poet Corinna gives Orion fifty sons (a traditional number). This included the oracular hero Acraephen, who, she sings, gave a response to Asopus regarding Asopus' daughters who were abducted by the gods. Corinna sang of Orion conquering and naming all the land of the dawn.[9] Bowra argues that Orion was believed to have delivered oracles as well, probably at a different shrine.[10][11] Hyginus says that Hylas's mother was Menodice, daughter of Orion.[12] Another mythographer, Liberalis, tells of Menippe and Metioche, daughters of Orion, who sacrificed themselves for their country's good and were transformed into comets.[13]

The Fountain of Orion, in Messina, Italy

Orion also has etiological connection to the city of Messina in Sicily. Diodorus of Sicily wrote a history of the world up to his own time (the beginning of the reign of Augustus). He starts with the gods and the heroes. At the end of this part of the work, he tells the story of Orion and two wonder-stories of his mighty earth-works in Sicily. One tells how he aided Zanclus, the founder of Zancle (the former name for Messina), by building the promontory which forms the harbor.[14] The other, which Diodorus ascribes to Hesiod, relates that there was once a broad sea between Sicily and the mainland. Orion built the whole Peloris, the Punta del Faro, and the temple to Poseidon at the tip, after which he settled in Euboea. He was then "numbered among the stars of heaven and thus won for himself immortal remembrance".[15] The Renaissance historian and mathematician Francesco Maurolico, who came from Messina, identified the remains of a temple of Orion near the present Messina Cathedral.[16] Maurolico also designed an ornate fountain, built by the sculptor Giovanni Angelo Montorsoli in 1547, in which Orion is a central figure, symbolizing the Emperor Charles V, also a master of the sea and restorer of Messina;[17] Orion is still a popular symbol of the city.

Images of Orion in classical art are difficult to recognize, and clear examples are rare. There are several ancient Greek images of club-carrying hunters that could represent Orion,[18] but such generic examples could equally represent an archetypal "hunter", or indeed Heracles.[19] Some claims have been made that other Greek art represents specific aspects of the Orion myth. A tradition of this type has been discerned in 5th century BC Greek pottery—John Beazley identified a scene of Apollo, Delian palm in hand, revenging Orion for the attempted rape of Artemis, while another scholar has identified a scene of Orion attacking Artemis as she is revenged by a snake (a counterpart to the scorpion) in a funerary group—supposedly symbolizing the hope that even the criminal Orion could be made immortal, as well as an astronomical scene in which Cephalus is thought to stand in for Orion and his constellation, also reflecting this system of iconography.[20] Also, a tomb frieze in Taranto (ca. 300 BC) may show Orion attacking Opis.[21] But the earliest surviving clear depiction of Orion in classical art is Roman, from the depictions of the Underworld scenes of the Odyssey discovered at the Esquiline Hill (50–40 BC). Orion is also seen on a 4th century bas-relief,[22] currently affixed to a wall in the Porto neighborhood of Naples. The constellation Orion rises in November, the end of the sailing season, and was associated with stormy weather,[23] and this characterization extended to the mythical Orion—the bas-relief may be associated with the sailors of the city.

Interpretations

Renaissance

Apollo, Vulcan and Mercury conceive Orion in an allegory of the three-fathered "philosophical child". The artist stands at the left; Mars at right. Published in 1617.

Mythographers have discussed Orion at least since the Renaissance of classical learning. Renaissance interpretations were allegorical. In the 14th century, Boccaccio interpreted the oxhide story as representing human conception; the hide is the womb, Neptune the moisture of semen, Jupiter its heat, and Mercury the female coldness; he also explained Orion's death at the hands of the moon-goddess as the Moon producing winter storms.[24] The 16th-century Italian mythographer Natalis Comes interpreted the whole story of Orion as an allegory of the evolution of a storm cloud: Begotten by air (Zeus), water (Poseidon), and the sun (Apollo), a storm cloud is diffused (Chios, which Comes derives from χέω, "pour out"), rises though the upper air (Aërope, as Comes spells Merope), chills (is blinded), and is turned into rain by the moon (Artemis). He also explains how Orion walked on the sea: "Since the subtler part of the water which is rarefied rests on the surface, it is said that Orion learned from his father how to walk on water."[25] Similarly, Orion's conception made him a symbol of the philosophical child, an allegory of philosophy springing from multiple sources, in the Renaissance as in alchemical works, with some variations. The 16th-century German alchemist Michael Maier lists the fathers as Apollo, Vulcan and Mercury,[26] and the 18th-century French alchemist Antoine-Joseph Pernety gave them as Jupiter, Neptune and Mercury.[27]

Modern

Modern mythographers have seen the story of Orion as a way to access local folk tales and cultic practices directly without the interference of ancient high culture;[28] several of them have explained Orion, each through his own interpretation of Greek prehistory and of how Greek mythology represents it. There are some points of general agreement between them: for example, that the attack on Opis is an attack on Artemis, for Opis is one of the names of Artemis.[29]

There was a movement in the late nineteenth century to interpret all the Boeotian heroes as merely personifications of the constellations.[30] There has come to be wide agreement since that the myth of Orion existed before there was a constellation named for him. Homer, for example, mentions Orion, the Hunter, and Orion, the constellation, but never confuses the two.[31] Once Orion was recognized as a constellation, astronomy in turn affected the myth. The story of Side may well be a piece of astronomical mythology. The Greek word side means pomegranate, which bears fruit while Orion, the constellation, can be seen in the night sky.[32] Rose suggests she is connected with Sidae in Boeotia, and that the pomegranate, as a sign of the Underworld, is connected with her descent there.[33]

The 19th-century German classical scholar Erwin Rohde viewed Orion as an example of the Greeks erasing the line between the gods and mankind. That is, if Orion was in the heavens, other mortals could hope to be also.[34]

The Hungarian mythographer Karl Kerényi, one of the founders of the modern study of Greek mythology, wrote about Orion in Gods of the Greeks (1951). Kerényi portrays Orion as a giant of Titanic vigor and criminality, born outside his mother as were Tityos or Dionysus.[35] Kerényi places great stress on the variant in which Merope is the wife of Oenopion. He sees this as the remnant of a lost form of the myth in which Merope was Orion's mother (converted by later generations to his stepmother and then to the present forms). Orion's blinding is therefore parallel to that of Aegypius and Oedipus.

In Dionysus (1976), Kerényi portrays Orion as a shamanic hunting hero, surviving from Minoan times (hence his association with Crete). Kerényi derives Hyrieus (and Hyria) from the Cretan dialect word hyron, meaning "beehive", which survives only in ancient dictionaries. From this association he turns Orion into a representative of the old mead-drinking cultures, overcome by the wine masters Oenopion and Oeneus. (The Greek for "wine" is oinos.) Fontenrose cites a source stating that Oenopion taught the Chians how to make wine before anybody else knew how.[36]

Joseph Fontenrose wrote Orion : the Myth of the Hunter and the Huntress (1981) to show Orion as the type specimen of a variety of grotesque hero. Fontenrose views him as similar to Cúchulainn, that is, stronger, larger, and more potent than ordinary men and the violent lover of the Divine Huntress. Orion has also been identified with Actaeon, Leucippus (son of Oenomaus), Cephalus, Teiresias, and Zeus as the lover of Callisto. Fontenrose also sees Eastern parallels in the figures of Aqhat, Attis, Dumuzi, Gilgamesh, Dushyanta, and Prajapati (as pursuer of Ushas).

In The Greek Myths (1955), Robert Graves views Oenopion as his perennial Year-King, at the stage where the king pretends to die at the end of his term and appoints a substitute, in this case Orion, who actually dies in his place. His blindness is iconotropy from a picture of Odysseus blinding the Cyclops, mixed with a purely Hellenic solar legend: the Sun-hero is captured and blinded by his enemies at dusk, but escapes and regains his sight at dawn, when all beasts flee him. Graves sees the rest of the myth as a syncretism of diverse stories. These include Gilgamesh and the Scorpion-Men, Set becoming a scorpion to kill Horus and the story of Aqhat and Yatpan from Ras Shamra, as well as a conjectural story of how the priestesses of Artemis Opis killed a visitor to their island of Ortygia. He compares Orion's birth from the bull's hide to a West African rainmaking charm and claims that the son of Poseidon should be a rainmaker.[37]

Cultural references

The ancient Greek and Roman sources which tell more about Orion than his being a gigantic huntsman are mostly both dry and obscure. The brief passages in Aratus and Vergil are mentioned above. Pindar celebrates the pancratist Melissus of Thebes "who was not granted the build of an Orion", but whose strength was still great.[38] Cicero translated Aratus in his youth; he made the Orion episode half again longer than it was in the Greek, adding the traditional Latin topos of madness to Aratus's text. Cicero's Aratea is one of the oldest Latin poems to come down to us as more than isolated lines; this episode may have established the technique of including epyllia in non-epic poems.[39] Orion is used by Horace, who tells of his death at the hands of Diana/Artemis,[40] and by Ovid, in his Fasti for May 11, the middle day of the Lemuria, when (in Ovid's time) Orion set with the sun.[41] This is the story of Hyrieus and the three gods, but Ovid is bashful about the climax; Ovid makes Hyrieus a poor man, to make the sacrifice of an entire ox more generous. There is also a single mention in his Art of Love, as a sufferer from unrequited love: "Pale Orion wandered in the forest for Side."[42] Statius mentions Orion four times in his Thebiad; twice as the constellation, a personification of storm, but twice as the ancestor of Dryas of Tanagra, one of the defenders of Thebes.[43]

Nicolas Poussin (1658) "Landscape with blind Orion seeking the sun"

References since antiquity are fairly rare. At the beginning of the 17th century, French sculptor Barthélemy Prieur cast a bronze statue Orion et Cédalion, some time between 1600 and 1611. This featured Orion with Cedalion on his shoulder, in a depiction of the ancient legend of Orion recovering his sight; the sculpture is now displayed at the Louvre.[44] Nicolas Poussin painted Paysage avec Orion aveugle cherchant le soleil (1658) ("Landscape with blind Orion seeking the sun"), after learning of the description by the 2nd-century Greek author Lucian, of a picture of Orion recovering his sight. In the painting, he combined this description with Natalis Comes's 16th century interpretation of the same scene.[45] Poussin need not have consulted Lucian directly; the passage is in the notes of the illustrated French translation of Philostratus' Imagines which Poussin is known to have consulted.[46] The Austrian Daniel Seiter (active in Turin, Italy), painted Diane auprès du cadavre d'Orion (c.1685) ("Diana next to Orion's corpse"), pictured above.

Wikisource has original text related to this article:

In Endymion (1818), John Keats includes the line "Or blind Orion hungry for the morn", thought to be inspired by Poussin. William Hazlitt may have introduced Keats to the painting—he later wrote the essay "On Landscape of Nicholas Poussin", published in Table Talk, Essays on Men and Manners (1822).[47] Richard Henry Horne, writing in the generation after Keats and Hazlitt, penned the three volume epic poem Orion in 1843.[48] It went into at least ten editions and was reprinted by the Scholartis Press in 1928.[49] Science fiction author Ben Bova re-invented Orion as a time-traveling servant of various gods in a series of five novels.


Italian composer Francesco Cavalli wrote the opera, "L'Orione", in 1653. The story is set on the Greek island of Delos and focuses on Diana's love for Orion as well as on her rival, Aurora. Diana shoots Orion only after being tricked by Apollo into thinking him a sea monster—she then laments his death and searches for Orion in the underworld until he is elevated to the heavens.[50] Johann Christian Bach ('the English Bach') wrote an opera, "Orion, or Diana Reveng'd", first presented at London's Haymarket Theatre in 1763. Orion, sung by a castrato, is in love with Candiope, the daughter of Oenopion, King of Arcadia but his arrogance has offended Diana. Diana's oracle forbids him to marry Candiope and foretells his glory and death. He bids a touching farewell to Candiope and marches off to his destiny. Diana allows him his victory and then kills him, offstage, with her arrow. In another aria, his mother, Retrea (Queen of Thebes), laments his death but ultimately sees his elevation to the heavens.[51] The 2002 opera Galileo Galilei by American composer Philip Glass includes an opera within an opera piece between Orion and Merope. The sunlight, which heals Orion's blindness, is an allegory of modern science.[52] Philip Glass has also written a shorter work on Orion, as have Tōru Takemitsu,[53] Kaija Saariaho,[54] and John Casken.[55] David Bedford's late-twentieth-century works are about the constellation rather than the mythical figure as he is an amateur astronomer.[56]

The twentieth-century French poet René Char found the blind, lustful huntsman, both pursuer and pursued, a central symbol, as James Lawler has explained at some length in his 1978 work René Char: the Myth and the Poem.[57] French novelist Claude Simon likewise found Orion an apt symbol, in this case of the writer, as he explained in his Orion aveugle of 1970. Marion Perret argues that Orion is a silent link in T. S. Eliot's The Waste Land (1922), connecting the lustful Actaeon/Sweeney to the blind Teiresias and, through Sirius, to the Dog "that's friend to men".[58]

This illustration of the late-5th century BC Greek vase artwork Blacas krater shows a mythological interpretation of the rising Sun and other astronomical figures—the large pair on the left are Cephalus and Eos; Cephalus appears to be in the form of Orion's constellation, and the dog at his foot may represent Sirius.

Notes

  1. ^ The Latin transliteration Oarion of Ὠαρίων is found, but is quite rare.
  2. ^ A birth story is often a claim to the hero by a local shrine; a tomb of a hero is a place of veneration.
  3. ^ Template:Fr icon Knoeplfer, Denis. Template:PDFlink. Collège de France, following Louis Robert's explanation of a Roman-era inscription. Retrieved on 2007-07-26.
  4. ^ Pausanias, 9.20.3
  5. ^ Roller, Duane W. (1974). "A New Map of Tanagra". American Journal of Archaeology. 78 (2): 152–156. doi:10.2307/502800. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
  6. ^ Pausanias makes a practice of discussing places in geographical order, like a modern tour guide, and he puts Cerycius next after the tomb in his list of the sights of Tanagra.
  7. ^ Bowra, Cecil Maurice (1938). "The Epigram on the Fallen of Coronea". The Classical Quarterly. 32 (2): 80–88. {{cite journal}}: Unknown parameter |month= ignored (help)
  8. ^ Loeb edition of Hesiod, introduction.
  9. ^ Robert Weir Smyth (Greek Melic Poets, p. 68 and notes on 338–339) doubts the interpretation, which comes down from antiquity, that this is Hyria, which Orion named Ouria after himself.
  10. ^ Bowra, p. 84–85
  11. ^ Powell, J. U. (1908). "Review: Berliner Klassikertexte, Heft V". The Classical Review. 22 (6): 175–178. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
  12. ^ Graves, Greek Myths, §143a, citing Hyginus, Fabulae 14.
  13. ^ Antoninus Liberalis, Metamorphoses §25.
  14. ^ Diodorus Siculus iv.85.1 Loeb, tr. C.H. Oldfather. English translation
  15. ^ Diodorus Siculus iv 85.5; the intervening passage deals with the opposite aetiology of the Straits of Messina: that Sicily was once connected to the mainland, and the sea (or an earthquake) broke them apart. Diodorus doesn't say what work of Hesiod; despite its differences from the other summary of Hesiod on Orion, Alois Rzach grouped this as a fragment of the Astronomy (Oldfather's note to the Loeb Diodorus, loc. cit.).
  16. ^ Sicanicarum rerum compendium (1562), cited in Brooke, Douglas & Wheelton Sladen (1907). Sicily, the New Winter Resort: An Encyclopaedia of Sicily, p. 384 (specific book cited, p. 376). New York: E. P. Dutton.
  17. ^ Sheila ffoliott, Civic Sculpture in the Renaissance; Montorsoli's Fountains at Messina, UMI Research Press, 1979 ISBN 0835714748; the date is on p. 35; for the design see chapter 3, especially pp. 93, 131; it celebrates Charles V's victory in Tunisia in 1535.
  18. ^ For example, Beazley, John (1929). "Attic Black-Figured Fragments from Naucratis". The Journal of Hellenic Studies. 49 (2): 253–272. doi:10.2307/625639. {{cite journal}}: Unknown parameter |coauthors= ignored (|author= suggested) (help) (75–78).
  19. ^ For example, these three interpretations have been made of a metope panel at the Temple of Apollo at Thermon.
  20. ^ Griffiths, Alan (1986). "'What Leaf-Fringed Legend...?' A Cup by the Sotades Painter in London". The Journal of Hellenic Studies. 106: 58–70. doi:10.2307/629642.; illustrated at end of text.
  21. ^ Carter, Joseph Coleman (1975). "The Sculpture of Taras". Transactions of the American Philosophical Society, New Series. 65 (7): 1–196. doi:10.2307/1006211. The Esquiline depiction is in the footnote on p.76.
  22. ^ Template:It icon Orione ed il Seggio di Porto. Archeosando. Retrieved on 2007-08-02.
  23. ^ Smith, William. A Dictionary of Greek and Roman Antiquities, 1878 edition, p. 162.
  24. ^ Boccaccio, Genealogie, Book 11 §19, pp. 558 l. 30 to p.559 l.11.
  25. ^ Gombrich (1994); Natalis Comes, Mythologiae, translated by Mulryan and Brown, 459/II 754–755.
  26. ^ Maier, Michael (1617). Atalanta fugiens.
  27. ^ Template:Fr icon Pernety, Antoine-Joseph (1737). Dictionaire Mytho-Hermetique.
  28. ^ See for example, Rose, Greek Myths, pp. 116–117.
  29. ^ Fontenrose, Orion, p.13 and note, but also Graves, Kerenyi and Rose.
  30. ^ Farnell (Greek Hero Cults p. 213 ) doubts it, even of Orion.
  31. ^ Fontenrose, Orion, p. 27; Graves; Kerenyi, Dionysus, several mentions; the observation on Homer is from Rose, A Handbook, p.117. The early nineteenth-century mythographer Karl Otfried Müller considered Orion the "only purely mythological figure in the heavens" and had also divided the myths into the original myths of the giant, and the figurative expressions of star lore after he was later identified with the constellation. Karl Otfried Müller: (1844 translation by John Leitch). Introduction to a Scientific System of Mythology, pp. 133–134. Longman, Brown, Green, and Longmans.
  32. ^ Frazer's notes to Apollodorus, citing a lexicon of 1884. Fontenrose is unconvinced.
  33. ^ Rose, A Handbook, p. 116
  34. ^ Rohde, Erwin (1925). Psyche: the cult of souls and belief in immortality among the Greeks. New York: Harcourt. p. 58. OCLC 2454243.
  35. ^ Kerényi believes the story of Hyrieus to be original, and that the pun on Orion/ourion was made for the myth, rather than the other way around.
  36. ^ Fontenrose, Orion, p. 9, citing Theopompus. 264 GH.
  37. ^ Graves, Greek Myths, §41, 1–5
  38. ^ Isthmian Odes 4.49; 3.67 for those who combine this Ode with the preceding one, also on Melissus. Quote from Race's Loeb translation.
  39. ^ Kubiak, who quotes the passage. (33.418–435 Soubiran).
  40. ^ Carmina 3.4.70. The Roman goddess Diana was identified very early with Artemis, and her name was conventionally used to translate Artemis into Latin by Horace's time. This system of translation continued to be used, in Latin and English, up through the nineteenth century, and this article will use it for Roman poetry and for the Renaissance. Hence Jupiter=Zeus; Neptune= Poseidon, and so forth. See Interpretatio Romana.
  41. ^ P. Ovidii Nasonis Fastorum libri ed. Giovanni Baptista Pighi, Turin 1973, I 261 (text, Fasti V 495–535, English version); II 97, 169 (surviving texts of actual Roman Fasti; these indicate the setting of Orion, an astronomical event, but not a festival). Smith's A Dictionary of Greek and Roman Antiquities, 1878 edition, p. 162 indicates that this is the setting of Betelgeuse; Rigel set on the 11th of April. (This is the very long entry on Astronomia, § on Orion.)
  42. ^ Ars Amatoria, I 731. .
  43. ^ Storm in Thebiad III 27, IX 461, also Silvae I. 1.45; as ancestor (nepos, sanguinis auctor) VIII 355, IX 843.
  44. ^ Orion et Cédalion at insecula.com.
  45. ^ Gombrich; see also "Nicolas Poussin: Blind Orion Searching for the Rising Sun (24.45.1)"
  46. ^ H.-W. van Helsdingen Notes on Poussin's Late Mythological Landscapes Simiolus: Netherlands Quarterly for the History of Art, Vol. 29, No. 3/4. (2002), pp. 152-183. JSTOR link.
  47. ^ On Landscape of Nicholas Poussin. In this essay, Hazlitt gives a slight misquote from Keats: "And blind Orion hungry for the morn". John Keats, Endymion, II, 197. See also the editor's note in The Poems of John Keats, ed. Ernest de Sélincourt, Dodd, Mead and company, 1905, p.430.
  48. ^ Orion: An Epic Poem By Richard Henry Horne, 1843, online copy from Google Books, accessed 03/09/2007.
  49. ^ National Union Catalog, v.254, p134, citing the LC copy of the 10th edition of 1874.
  50. ^ Cavalli—Orion venetian Opera. Musical Pointers. Retrieved on 2007-08-02.
  51. ^ Ernest Warburton, "Orione", Grove Music Online ed. L. Macy (Accessed July 16, 2007), <http://www.grovemusic.com>
  52. ^ Strini, Tom (Jun. 29, 2002). "'Galileo' journeys to the stars". Milwaukee Journal Sentinel.
  53. ^ A cello sonata developed into a cello concerto; the scores were Schott Music, 1984 and 1986 respectively. The concerto form was recorded by the BBC National Orchestra of Wales on Bis, along with "A Flock Descends into the Pentagonal Garden."
  54. ^ BBC Proms (April 29, 2004). Template:PDFlink. Press release.
  55. ^ Orion over Farnes review. (April 4, 1992). Frankfurter Allgemeine Zeitung.
  56. ^ Andrew Fraknoi, "Template:PDFlink" The Astronomy Education Review, Issue 1, Volume 5:139–153, 2006
  57. ^ "Review" of Lawler, René Char: the Myth and the Poem. by Sarah N. Lawall in Contemporary Literature, Vol. 20, No. 4. (Autumn, 1979), pp. 529–531.
  58. ^ Perret, "Eliot, the Naked Lady, and the Missing Link"; American Literature, Vol. 46, No. 3. (Nov., 1974), pp. 289-303. Quotation from Waste Land, I 74.

References

  • Giovanni Boccaccio; Genealogie Deorum Gentilium Libri. ed. Vincenzo Romano. Vol. X and XI of Opere, Bari 1951. The section about Orion is Vol XI, p. 557-560: Book IX §19 is a long chapter about Orion himself; §20–21 are single paragraphs about his son and grandson (and the genealogy continues through §25 about Phyllis daughter of Lycurgus).
  • Natalis Comes: Mythologiae siue explicationis fabularum libri decem; translated as Natale Conti’s Mythologiae, translated and annotated by John Mulryan and Steven Brown; Arizona Center for Medieval and Renaissance Studies, 2006. ISBN 9780866983617 This is cited by the page number in the 1616 printing, followed by the page in Mulryan and Brown. The chapter on Orion is VIII, 13, which is pp. 457–9 Tritonius; II 751–5 Mulryan and Brown.
  • Joseph Fontenrose Orion: The Myth of the Hunter and the Huntress Berkeley : University of California Press (1981) ISBN 0520096320
  • E. H. Gombrich: "The Subject of Poussin's Orion" The Burlington Magazine, Vol. 84, No. 491. (Feb., 1944), pp. 37–41
  • Robert Graves, The Greek Myths Penguin 1955; ISBN 0918825806 is the 1988 reprint by a different publisher.
  • Karl Kerényi, Gods of the Greeks, tr. Norman Cameron. Thames and Hudson 1951. ISBN 0500270481 is a reprint, by the same publisher.
  • Karl Kerényi, Dionysus: Archetypal Image of Indestructible Life. Princeton University Press, 1976. ISBN 0691098638
  • David Kubiak: "The Orion Episode of Cicero's Aratea" The Classical Journal, Vol. 77, No. 1. (October–November, 1981), pp. 12–22.
  • Roger Pack, "A Romantic Narrative in Eunapius"; Transactions and Proceedings of the American Philological Association, Vol. 83. (1952), pp. 198–204. JSTOR link. A practicing classicist retells Orion in passing.
  • H. J. Rose (1928). A Handbook of Greek Mythology, pp. 115–117. London and New York: Routledge, 1991. ISBN 0415046017.

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