Greek goddess of dance. Terpsichore as depicted by artists

Terpsichore (Greek Τερψιχόρᾱ, lat. Terpsichore) - muse of dance. A character from ancient Greek myths, a popular image and symbol in art. According to Diodorus, it received its name from the pleasure (terpein) of spectators in the benefits shown in art. Tsets also names her name among the Muses.
Daughter of Zeus and Mnemosyne. She is considered the patroness of dancing and choral singing. She was depicted as a young woman, with a smile on her face, sometimes in the pose of a dancer, more often sitting and playing the lyre.

The Muses - Terpsichore

Characteristic attributes:
wreath on the head;
in one hand she held a lyre and in the other a plectrum.

She is considered the mother of the sirens (father is the river god Aheloy) and the singer Lin (according to another version, his mother is another muse Urania). According to Hyginus - mother Eumolpas.

Mentioned by Pindar. This muse is associated with Dionysus, attributing to her an attribute of this god - ivy (as stated in the inscription on Helicon dedicated to Terpsichore)

Studiolo di belfiore, tersicore di angelo maccagnino e collaboratori di cosmè tura, museo poldi pezzoli.

Raffaello Sanzio.Stanza della Segnatura im Vatikan für Papst Julius II., Wandfresko, Szene: Der Parnaß, Detail: Terpsichore.1510-1511.

Terpsichore and dance were not invented by the ancient Greeks for the sake of entertainment and pastime. Muse and dance are the result of thoughtful contemplation of Nature, where everything moves in rhythm according to unwritten laws.
To understand the spirit of the dance, it is enough to immerse yourself in the rustle of dense foliage. Without leaving the branches, the leaves dance and sing, giving birth to a symphony of green shades, enchanting the eye and ear. It is enough to sit on the seashore for a minute, turning your face towards it, and surrender to the will of the tireless rhythm with which the waves rush onto the shore. It is enough to follow the flight of a bird or a falling leaf in the autumn. Just look at how the clouds dance in the sky, alternately taking on thousands of fantastic forms. In the end, it is enough just to be able to read that open book, the pages of which life turns before us every day, but in which we value - and even then not always - only the cover.

Musa-terpsichore

If the eyes do not see, then the body cannot dance. The piece of matter that we call the body only thrashes and writhes, as if in painful convulsions, and does not move in a harmonious rhythm. What remains is a creature that unfeignedly craves carnal satisfaction, and not the spiritual pleasure of beauty.
If the eyes do not see, then there are no sounds to compose music from. If beautiful melodies were to sound, they would awaken in our body the desire to move to the beat, in harmony and in proportion. But we are surrounded by loud, aggressive music, built on dissonance, or cloyingly sweet and slyly tender, and the lyrics are clearly dictated by degenerating fashion or the political system, which is also popular today.

Jean-Marc Nattier Art Reproductions
Terpsichore, Muse of Music and Dance, c.1739
Fine Arts Museums of San Francisco, California, USA

Behind all this tinsel the truth is not visible. And it lies in the fact that dance is dead, and its death is the victory of materialism, which promises false freedom that will never be achieved for the simple reason that it does not exist in the worlds where they are trying to find it. This false freedom is promised by the slogan “do what you want, and it will be my way.” Or “be more relaxed” - following the imposed fashion. You are obliged to recognize as beautiful that which causes disgust, and, closing your eyes, spin and jump madly, trampling on the very memory of the sacred Muse of rhythm and harmony. Among all the falsehood and meaninglessness of words, young people are not only hopelessly far from being able to dance; in their jumping and bodily untidiness, they became so depressed and degraded that they completely forgot the grace and grace of movement.
And I called upon Terpsichore. This call was born in the depths of my soul and burst out with force.

Wolfgang Sauber. Villa Mulini - Kommode Goldbeschlag

And she came to me. Every movement of the Muse breathed grace that clothes could not hide. She walked through time, and her procession was a dance, the movements of which were music itself. No, Terpsichore did not die, because beauty never dies. I thought that no one would notice her presence, but everything that is Genuine is immutable... The vision was fleeting, but at that moment time and space lost their frightening absoluteness, and fashion bowed down bashfully in the face of what eternally was, is and will be.

Terpsichore, created 1816 by Antonio Canova (1757-1822), in the Cleveland Museum of Art, Cleveland, Ohio, USA.

For just a moment the Muse of Dance was among us. No one knows her name anymore and no one will remember the art that she patronizes, but a vague melancholy has awakened in someone’s wretched body. It lost its wings long ago and can no longer fly or walk. And only it can raise its gaze to a fleeting vision, and the soul begs it to again become the same as before.
After all, the soul can dance. It lives in each of us, and it all depends on how much we ourselves constrain it. If the soul is in awe, the Greeks called it by the name of grace and harmony, Terpsichore. And if she cries, what should we call her?

Delia Steinberg Guzman

Muse-Terpsichore at the Hermitage.

Many pictures are clickable.

The Muses - Terpsichore

Characteristic attributes:
wreath on the head;
in one hand she held a lyre and in the other a plectrum.

Mentioned by Pindar. This muse is associated with Dionysus, attributing to her an attribute of this god - ivy (as stated in the inscription on Helicon dedicated to Terpsichore)

Studiolo di belfiore, tersicore di angelo maccagnino e collaboratori di cosmè tura, museo poldi pezzoli.

Raffaello Sanzio.Stanza della Segnatura im Vatikan für Papst Julius II., Wandfresko, Szene: Der Parnaß, Detail: Terpsichore.1510-1511.

Musa-terpsichore

Jean-Marc Nattier Art Reproductions
Terpsichore, Muse of Music and Dance, c.1739
Fine Arts Museums of San Francisco, California, USA

Wolfgang Sauber. Villa Mulini - Kommode Goldbeschlag

Terpsichore, created 1816 by Antonio Canova (1757-1822), in the Cleveland Museum of Art, Cleveland, Ohio, USA.

Delia Steinberg Guzman

Muse-Terpsichore at the Hermitage.

Many pictures are clickable.

Very often in our lives we come across such phrases as: “visited by a muse”, “muse of poetry” and many others in which the word muse is mentioned. However, what does it mean? This concept comes from ancient mythology. The Greek muses are nine sisters, patronesses of the arts and sciences. They are the daughters of Zeus himself and each of them has their own unique divine abilities. Let's take a closer look at them.

So, as stated earlier, the muses are the daughters of Zeus and the Titanide Mnemosyne, who is the goddess of memory. The very word muses (muses) comes from the Greek word “thinking”. The muses were usually depicted as young and beautiful women. They had a prophetic gift and treated creative people favorably: poets, painters, actors, in every possible way encouraging and helping them in their activities. However, for special offenses, the muses could deprive a person of inspiration. To prevent this from happening, the ancient Greeks built special temples in honor of the muses, which were called museions. It is from this word that the word “museum” comes from. The patron saint of the muses themselves was the god Apollo. Let's now take a closer look at each of the muses.

Muse Calliope - muse of epic poetry

The name of this muse from Greek can be translated as “one with a beautiful voice.” According to Diodorus, this name arose at the moment when the “beautiful word” (kalen opa) was pronounced. She is the eldest daughter of Zeus and Mnemosyne.

Calliope is the mother of Orpheus, the muse of heroic poetry and eloquence. It evokes a feeling of sacrifice, which encourages a person to overcome his selfishness and fear of fate. Calliope wears a golden crown on her brow - a sign that she dominates other muses, thanks to her ability to introduce a person to the first steps on the path to his liberation. Calliope was depicted with a waxed tablet or scroll and a slate stick in her hands - a stylus, which was a bronze rod, the pointed end of which was used to write text on a wax-covered tablet. The opposite end was made flat to erase what was written.

Muse Clio - patroness of history

The accompanying attributes of this muse are a scroll of parchment or a tablet - a board with writing. Clio reminds us of what a person can achieve and helps him find his purpose.

According to Diodorus, the name comes from the word “Kleos” - “glory”. The etymology of the name is “giver of glory.” From Pierre, the Greek muse Clio had a son, Hyakinthos. Love for Pierre was inspired by Aphrodite for condemning her love for Adonis.

Muse Melpomene - muse of tragedy

In Greek mythology, Melpomene is considered the muse of the tragic genre. The name, according to Diodorus, means “melody that pleases listeners.” The image is anthropomorphic - it was described as a woman with a bandage, grape or ivy wreath on her head. Always has permanent attributes in the form of a tragic mask, sword or club. The weapon carries symbolism of the inevitability of divine punishment.

Melpomene is the mother of the sirens - sea creatures who personified the deceptive but charming surface of the sea, under which sharp cliffs or shoals are hidden. From their mother-muse, sirens inherited a divine voice with which they lured sailors.

Muse Thalia - the muse of comedy

Thalia, or in another version Phalia, is in Greek mythology the muse of comedy and light poetry, the daughter of Zeus and Mnemosyne. She was depicted with a comic mask in her hands and an ivy wreath on her head.

From Thalia and Apollo were born the Corybantes - the mythical predecessors of the priests of Cybele or Rhea in Phrygia, in wild enthusiasm, with music and dancing, serving the great mother of the gods. According to Diodorus, she received her name from prosperity (talleyn), which was glorified in poetic works for many years.

Zeus, turning into a kite, took Thalia as his wife. Out of fear of Hera's jealousy, the muse hid in the depths of the earth, where demonic creatures were born from her - paliki (in this myth she is called the nymph of Etna).

Muse Polyhymnia - muse of solemn hymns

Polyhymnia is the muse of solemn hymns in Greek mythology. According to Diodorus, she received her name from the creation of many praises (dia polles himneseos) fame to those whose name was immortalized by poetry. She patronizes poets and hymn writers. It is believed that she keeps in memory all the hymns, songs and ritual dances that glorify the Olympian gods, and she is also believed to have invented the lyre.

Polyhymnia is often depicted with a scroll in her hands, in a thoughtful pose. Polyhymnia patronizes people's study of rhetoric and oratory, which turns the speaker into an instrument of truth. She personifies the power of speech and makes a person’s speech life-giving. Polyhymnia helps to understand the mystery of the word as a real force with which you can inspire and revive, but at the same time injure and kill. This power of speech is inspiring on the path to truth.

Muse Terpsichore - muse of dance

Terpsichore is the muse of dance. According to Diodorus, it received its name from the pleasure (terpein) of spectators in the benefits shown in art. Tsets also names her name among the Muses. She is considered the patroness of dancing and choral singing. She was depicted as a young woman, with a smile on her face, sometimes in the pose of a dancer, more often sitting and playing the lyre.

Characteristic attributes: wreath on the head; in one hand she held a lyre and in the other a plectrum. This muse is associated with Dionysus, attributing to her an attribute of this god - ivy (as stated in the inscription on Helicon dedicated to Terpsichore).

Muse Urania - muse of astronomy

Urania is the muse of astronomy. The attributes of Urania were: a celestial globe and a compass. According to Diodorus, she received her name from the aspiration to heaven (uranos) of those who comprehended her art. According to one version, Urania is the mother of Hymen.

Urania personifies the power of contemplation; she calls us to leave the external chaos in which man exists and to immerse ourselves in the contemplation of the majestic running of the stars, which is a reflection of fate. This is the power of knowledge, the power that pulls towards the mysterious, pulls towards the high and beautiful - towards the Sky and the Stars.

Muse Euterpe - muse of lyric poetry

Euterpe (ancient Greek Εὐτέρπη “pleasure”) - in Greek mythology, one of the nine muses, daughters of Zeus and the Titanide Mnemosyne, the muse of lyrical poetry and music. She was depicted with a lyre or flute in her hands.

Mother of Res by the river god Strymon. According to the etymology of Diodorus, she received her name from the pleasure (terpein) of listeners who receive the benefits of education. Tsets also names her name among the Muses.

Muse Erato - muse of love poetry

Erato is the muse of lyrical and love poetry. Her name is derived from the name of the god of love Eros. According to Diodorus, she received her name in honor of the ability to be “eperasta” (desired for love and passion).

Born as a result of the union of Mnemosyne and Zeus. From Mala Erato she gave birth to Cleophema. The attribute of the muse is cithara. This divine heroine of Greek mythology is mentioned quite often in Hellenic legends.

In addition, Virgil and Apollonius of Rhodes resorted to symbolism associated with the image of the Greek muse Erato in their works. She knows how to inspire love for everything living in the soul with her art of transforming everything into beauty hidden beyond the physical.

Based on Wikipedia materials

Ancient Greek mythology is curious about the cult of the gods of Olympus and the veneration of their children, who represent the third generation of exalted beings. Greece was famous for its enlightened minds and artists. Therefore, the muses who inspired creation were especially respected. 9 women, daughters of the supreme god - the Thunderer, represent a harmonious triad. They personified science, crafts and arts. Each of the muses was necessary for the comprehensive development of the state, improvement of education and new achievements in all areas.

History of appearance

The muses were originally considered inspirational nymphs. They are able to bestow talent in a particular direction or a tendency to express themselves in one form or another of art. Over time, the number of muses has changed. The myth says that each of them is the daughter of Zeus.

The first mentions of these creatures tell of Meletus, whose privilege was reflection, Mneme, who is in charge of memory, and Aeda, whose element was song. The ancient Greek poet Hesiod sang the praises of nine maidens, the children of Zeus and Mnemosyne, the goddess of memory. According to legend, girls were born at the foot of Olympus. Beautiful in appearance, they were distinguished by their sincerity and demonstrated wonderful talents.

Hesiod said that if a muse decided to bestow a talent on a mere mortal, she would accompany him from infancy. Girls patronized those who recognized their strength and believed that their talent was not unfounded. The muses punished those prone to insolence. Ancient Greece initially believed in muses who favored the poetic sphere, but later patrons of the exact sciences appeared. Each sister accepted responsibility for the area entrusted to her. They had specific responsibilities and distinctive attributes.

Terpsichore was the muse of dance and choral singing and was often depicted as a dancer with a slight smile. A wreath adorned her head, and in her hands the girl held a lyre and a plectrum. Terpsichore dominated the harmony between the internal and external, creating a strong and conflict-free relationship between the soul and the human body. In literary works, Terpsichore is described as "enjoying round dances."

Herodotus described the appearance of the patroness of music and dance in the fifth book of the Muses cycle. In the work, the historian left descriptions concerning the attitude of the ancient Greeks to various areas of scientific activity, crafts and arts, characterizing the image and perception of the muses by their compatriots.

Muse of dancing and singing

The dance of the ancient era was based on strict adherence to rhythm and its combination with movements of the arms and legs. The myth said that Terpsichore accompanied, teaching mortals to combine the spiritual with the physical. According to her behest, in dance one should take exquisite poses and use aesthetic gestures, reflecting thoughts and mood, creating a harmonious action.

The Muse of Dance was an important character for the ancient Greeks and a representative of the divine pantheon. Dance was highly valued in the state and was identified in its degree of seriousness with gymnastics. In gymnasiums there was a separate subject that taught harmonious movement to music.

Terpsichore's biography is ambiguous. According to some sources, she gave birth to the future singer Lin, and according to others, in alliance with the river god Achelous, she gave birth to sirens. Alternative versions report that Lin is the son of Urania, and the sirens are the daughter.

Terpsichore is associated with, drawing attention to the fact that she is often depicted with ivy, which was a symbol of the god of winemaking.

There is evidence that the Pythagorean school had a temple where Pythagoras taught students. Terpsichore, Erato and Thalia, the patroness of the physical principle, elements, flora and fauna, were sung here.

Contrary to popular belief, the patroness of dancing and singing was not invented by the ancient Greeks in the name of entertainment. The ancient inhabitants believed that dance was an action aimed at contemplating and understanding nature, which had its own laws of movement. Terpsichore advised on pleasure dances at weddings and taught how to convey emotions and a subtle connection with the culture of their native country and nature through movement. Dance was perceived as a harmonious movement of soul and body in symbiosis. The Greeks knew how to hear and listen to music and associated it with the heartbeat. Lack of talent did not allow everyone to realize themselves in this direction.

Film adaptations

The Muses are considered minor characters in the ancient Greek pantheon. The image of Terpsichore is rarely used in cinema, but references to it and the use of her name are common. The muse is mentioned in documentaries describing research in the fields of mythology and theology, as well as in feature films dedicated to the art of music and dance.

The film "Prisoners of Terpsichore", released in 1995, is a striking example of the mention of the name of the muse in cinema. This is a Russian-made ballet film describing the interaction between the teacher, Professor Sakharova, and the soloist Balakhnicheva. The dramatic plot tells about the period of training of a dancer of the Kremlin Ballet, inspiration and a difficult path accomplished thanks to talent, hard work and love for the art of dance.

Today I saw the Muse, the patroness of the art of Dance. The ancient Greeks called it Terpsichore, and this name itself bears the imprint of rhythm and harmony...
But no one pronounces this name anymore, and no one engages in art anymore. All aspects of our lives are marked by traces of decay, and the throne of the Muse of Dance was also captured by the cult of decadence and degeneration, when the mask of dance was put on with clumsy body movements imitating animal instincts.
Terpsichore and dance were not invented by the ancient Greeks for the sake of entertainment and pastime. Muse and dance are the result of thoughtful contemplation of Nature, where everything moves in rhythm according to unwritten laws.
To understand the spirit of the dance, it is enough to immerse yourself in the rustle of dense foliage. Without leaving the branches, the leaves dance and sing, giving birth to a symphony of green shades, enchanting the eye and ear. It is enough to sit on the seashore for a minute, turning your face towards it, and surrender to the will of the tireless rhythm with which the waves rush onto the shore. It is enough to follow the flight of a bird or a falling leaf in the autumn. Just look at how the clouds dance in the sky, alternately taking on thousands of fantastic forms. In the end, it is enough just to be able to read that open book, the pages of which life turns before us every day, but in which we value - and even then not always - only the cover.
If the eyes do not see, then the body cannot dance. The piece of matter that we call the body only thrashes and writhes, as if in painful convulsions, and does not move in a harmonious rhythm. What remains is a creature that unfeignedly craves carnal satisfaction, and not the spiritual pleasure of beauty.
If the eyes do not see, then there are no sounds to compose music from. If beautiful melodies were to sound, they would awaken in our body the desire to move to the beat, in harmony and in proportion. But we are surrounded by loud, aggressive music, built on dissonance, or cloyingly sweet and slyly tender, and the lyrics are clearly dictated by degenerating fashion or the political system, which is also popular today.
Behind all this tinsel the truth is not visible. And it lies in the fact that dance is dead, and its death is the victory of materialism, which promises false freedom that will never be achieved for the simple reason that it does not exist in the worlds where they are trying to find it. This false freedom is promised by the slogan “do what you want, and it will be my way.” Or “be more relaxed” - following the imposed fashion. You are obliged to recognize as beautiful that which causes disgust, and, closing your eyes, spin and jump madly, trampling on the very memory of the sacred Muse of rhythm and harmony. Among all the falsehood and meaninglessness of words, young people are not only hopelessly far from being able to dance; in their jumping and bodily untidiness, they became so depressed and degraded that they completely forgot the grace and grace of movement.
And I called upon Terpsichore. This call was born in the depths of my soul and burst out with force.
And she came to me. Every movement of the Muse breathed grace that clothes could not hide. She walked through time, and her procession was a dance, the movements of which were music itself. No, Terpsichore did not die, because beauty never dies. I thought that no one would notice her presence, but everything that is Genuine is immutable... The vision was fleeting, but at that moment time and space lost their frightening absoluteness, and fashion bowed down bashfully in the face of what eternally was, is and will be.
For just a moment the Muse of Dance was among us. No one knows her name anymore and no one will remember the art that she patronizes, but a vague melancholy has awakened in someone’s wretched body. It lost its wings long ago and can no longer fly or walk. And only it can raise its gaze to a fleeting vision, and the soul begs it to again become the same as before.
After all, the soul can dance. It lives in each of us, and it all depends on how much we ourselves constrain it. If the soul is in awe, the Greeks called it by the name of grace and harmony, Terpsichore. And if she cries, what should we call her?