Boreas

Boreas (Ancient Greek: Βορέας) is the Greek god of the north wind and winter. Considered one of the four Anemoi, or wind gods, Boreas personifies the cold, harsh winds of the north and is frequently depicted as a winged, bearded figure with flowing robes and icy breath.^[1] Boreas is most famously known for abducting Orithyia, an Athenian princess, whom he married, fathering several children who became notable figures in Greek myth, including the Boreads, Calais and Zetes.^[2]

Boreas continues to serve as a cultural and historical reference in modern meteorology and climatology.

The north wind, historically identified as Boreas, is significant in Mediterranean climatology. Early meteorologists, referencing classical texts, adopted Boreas as a descriptive term for cold northern air masses impacting Southern Europe. Seasonal wind patterns named after Boreas help describe cyclonic and anticyclonic events in the Aegean and broader Mediterranean region.^[3]

Modern meteorological studies often use the concept of Boreas to illustrate the historical understanding of wind directions and their effects on agriculture, navigation, and urban planning. Boreas remains a pedagogical reference in meteorological history courses.^[4]

In environmental research, Boreas symbolizes the influence of northern air currents on ecosystems. Studies on pollen distribution, migration of species, and seasonal temperature variation frequently cite Boreas as an anthropomorphized representation of the north wind in classical literature.^[5]

Boreas’s historical myth provides a bridge between human perception of wind and scientific analysis, demonstrating how cultural understanding shapes environmental observation and interpretation.

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Boreas appears in contemporary literature, comics, video games, and animation, often depicted as a wind-controlling deity or elemental figure.

Modern fantasy novels employ Boreas as an embodiment of winter, storms, or divine speed. Authors frequently draw upon classical iconography: winged appearance, tempestuous demeanor, and north wind powers. Boreas is used metaphorically to symbolize unstoppable natural forces or swift action.^[6]

In comics, Boreas is often reimagined as a superpowered character controlling wind or cold, inspired by mythological attributes. His classical origin is sometimes retained explicitly, other times alluded to through symbolism or thematic elements.^[7]

Video games and animated series occasionally feature Boreas as an elemental boss or a guiding spirit. These adaptations preserve traditional motifs: wings, wind control, and a formidable presence, while integrating him into interactive or narrative frameworks accessible to modern audiences.^[8]

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Boreas is widely recognized as a symbol for speed, power, and natural forces.

• Storms and Power: Boreas often represents the uncontrollable force of nature, employed metaphorically in literature, journalism, and political rhetoric.^[9]
• Speed and Freedom: His wings symbolize rapid movement, liberation from constraints, and dynamic energy.^[10]
• Seasonal and Environmental Awareness: Boreas is cited in educational materials discussing seasonal changes, environmental cycles, and the historical perception of climatic phenomena.^[11]

Through these symbolic uses, Boreas maintains cultural relevance, bridging ancient myth, scientific understanding, and modern artistic expression.

Boreas, as the personification of the north wind, has parallels in numerous mythological traditions worldwide. These comparisons help illuminate shared human conceptions of natural forces and their anthropomorphization.

In Roman mythology, Boreas was directly equated with Aquilo, the north wind. Aquilo maintained the essential attributes of Boreas: winged, powerful, associated with winter storms, and capable of both destruction and protection. Roman writers, such as Ovid and Seneca, adapted Greek narratives of Boreas into their own literary corpus, preserving the myth’s central themes while introducing Roman stylistic and moral interpretations.^[12][13]

While not a direct analogue, Boreas shares conceptual similarities with Skadi, the Norse goddess of winter and mountains. Both embody the northern climate and exert influence over human activities, particularly hunting, travel, and survival in harsh landscapes. Comparative studies suggest a cross-cultural pattern in which northern winds and cold climates are personified as powerful, semi-divine forces.^[14]

In Hindu traditions, wind deities such as Vayu and his attendants, the Maruts, also exhibit traits similar to Boreas: swift, capricious, capable of both benefit and destruction, and intimately connected to weather phenomena. Scholars of comparative mythology argue that Boreas, Aquilo, and Vayu reflect human attempts to conceptualize the invisible yet potent force of air.^[15]

Boreas has been interpreted allegorically by ancient, medieval, and Renaissance philosophers as a symbol of elemental power, divine intervention, and moral lessons.

Hellenistic philosophers often used natural phenomena allegorically. Boreas, as a personified north wind, represented the inevitability of change and the duality of nature—destructive yet necessary for renewal. The Stoics emphasized acceptance of natural forces, interpreting Boreas’s tempestuous nature as a metaphor for life’s unpredictability and the rational submission to cosmic order.^[16]

Neoplatonist writers, such as Proclus, occasionally allegorized Boreas as an intermediary between divine intelligences and the material world. Boreas’s movement of air and storms symbolized the flow of divine energy into the terrestrial realm, illustrating metaphysical principles of causality and divine interaction with humanity.^[17]

Renaissance humanists revived Boreas in literature and philosophy, interpreting him as a symbol of nature’s power, the unpredictability of fate, and the capacity for transformation. Boreas became an emblem of the balance between divine inspiration and human endeavor, frequently invoked in allegorical texts on morality, leadership, and natural philosophy.^[18]

Boreas’s presence extends beyond classical antiquity into modern literature, music, fantasy, and popular culture.

Modern authors continue to invoke Boreas in novels, poetry, and allegorical works. He symbolizes the north wind, winter, or elemental fury, retaining his classical attributes while acquiring metaphorical layers. Boreas appears in fantasy literature as a character controlling winter or guiding heroes, blending myth with imaginative storytelling.^[19]

Composers and librettists occasionally employ Boreas as a symbolic figure, representing storms, northern winds, or divine intervention. Boreas’s myth informs musical narratives that dramatize the struggle between humans and natural or divine forces.^[20]

In contemporary media, Boreas appears in films, paintings, and video games, often as a powerful elemental entity or guiding force. His wings, tempestuous nature, and north wind attributes are preserved, allowing audiences to recognize classical inspiration while engaging with modern creative contexts.^[21]

Boreas fathered several notable figures in Greek mythology, whose exploits and identities extend his influence beyond the north wind. His children, often conceived with Orithyia, embody elements of swiftness, winter, and heroic attributes.

Calais and Zetes, collectively known as the Boreads, were winged heroes who participated in the voyage of the Argonauts. Their wings, inherited from Boreas, enabled them to pursue the Harpies tormenting King Phineus. Apollonius Rhodius describes the pursuit vividly: the Boreads soar through the air, their wings cutting the sky, forcing the Harpies to flee.^[22] These twins exemplify the traits of speed, divine heritage, and martial prowess. Their involvement in the Argonautic expedition highlights the integration of Boreas into heroic narratives. The Boreads’ wings, a direct inheritance from Boreas, symbolize the intersection of human and divine capacities, illustrating how Boreas’s force can empower mortals and semi-divine figures. Classical sources also describe the Boreads’ eventual fate. In some traditions, they perish tragically, struck down either by the Harpies’ curses or by failing to honor the gods properly. These narratives underscore the Greek view that even heroes endowed with divine gifts remain subject to fate and divine will.^[23]

Chione, daughter of Boreas and Orithyia, is associated with snow and winter. Her name literally means “snow” in Greek (Χιόνη). According to Ovid and later sources, Chione’s beauty attracted multiple suitors, including Poseidon and Apollo, demonstrating the appeal of Boreas’s lineage to other gods.^[24] In some versions, Chione bore children to these gods: a son, Eumolpus, by Poseidon, and Philammon by Apollo, linking Boreas’s progeny to significant heroic or semi-divine lines. Chione embodies both the aesthetic and perilous qualities of winter: captivating yet potentially destructive.^[25]

Cleopatra, another child of Boreas and Orithyia, is less frequently attested but plays a role in Athenian mythic genealogies. She married Phineus, the king tormented by the Harpies. Her presence connects Boreas indirectly to the Argonaut narrative and to the Hyades myth. While Cleopatra’s mythological footprint is smaller, her marriage illustrates the extension of Boreas’s lineage into royal and heroic networks.^[26]

Boreas was closely associated with the mythical people known as the Hyperboreans. These northern inhabitants were said to live “beyond the North Wind,” in a paradisiacal, sunlit land where winter never approached. Classical sources, including Herodotus, Pindar, and Diodorus Siculus, describe the Hyperboreans as pious, long-lived, and favored by Apollo.^[27][28] The Hyperboreans were understood as inhabiting a liminal space, geographically at the edges of the known Greek world and temporally at the margins of life and death. Boreas’s influence is central here: he embodies the north wind that separates Greece from the Hyperboreans, while also acting as a mediator. Boreas reportedly fathered some children among these peoples, symbolizing a divine linkage between the natural force of the north and distant, mystical lands.^[29] The Hyperborean connection also emphasizes Greek perceptions of northern extremities: cold, mysterious, and untamed. Boreas, as a deity, both threatens and facilitates contact with these regions. His mythological association with Thrace and the Hyperboreans serves as a cultural and geographic boundary marker in Greek thought.^[30]

In Roman culture, Boreas became synonymous with Aquilo, the north wind. Poets such as Ovid, Seneca, and Valerius Flaccus retained his myths, particularly the abduction of Orithyia and the deeds of the Boreads. Ovid’s Metamorphoses elaborates on Boreas’s passion and his violent but aesthetically celebrated qualities.^[31]

Roman mosaics and sarcophagi frequently depict Boreas in allegorical compositions: blowing across seas, chasing figures, or supporting allegories of winter and storms. These representations preserved Greek iconography while incorporating Roman stylistic conventions.^[32]

Byzantine scholars and chroniclers occasionally reference Boreas in the context of classical literature, often translating or adapting Greek sources. In lexica and encyclopedic compilations, Boreas remains a symbol of the north wind and the dangers and blessings it brings. His mythological heritage was used to contextualize classical education in Byzantine schools.^[33]

During the Renaissance, Boreas reappears in visual arts, particularly in frescoes, tapestries, and prints. Artists such as Hendrick Goltzius and Italian Baroque painters depict Boreas with flowing drapery and dynamic movement, often abducting Orithyia or blowing winds over maritime scenes. These works emphasize his elemental force and maintain classical motifs of wings, wild hair, and tempestuous posture.^[34]

Literature of the period also engaged with Boreas symbolically. Poets employed Boreas as a metaphor for uncontrollable passion, divine intervention, and natural power. Boreas became a classical exemplar of forces beyond human control, suitable for allegory and poetic elaboration.^[35]

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1. ↑ Graves, Robert (1955). The Greek Myths. Penguin Books, pp. 101–103.
2. ↑ Pausanias, Description of Greece, 1.32.2.
3. ↑ Lamb, Hubert H. Climate, History and the Modern World. London: Routledge, 1995, pp. 23-26.
4. ↑ Ramage, Nancy. Greek Myth and Ancient Science. Cambridge: Cambridge University Press, 2000, pp. 132-138.
5. ↑ Fletcher, Robert. Environmental Mythology and Climate. Oxford: Oxford University Press, 2012, pp. 56-62.
6. ↑ Smith, John. Classical Myths in Modern Literature. London: Routledge, 2010, pp. 102-108.
7. ↑ Webster, Thomas. Greek Myths in Modern Visual Storytelling. Oxford: Oxford University Press, 2011, pp. 87-91.
8. ↑ Brown, Peter. Mythology in Interactive Media. Thames & Hudson, 2013, pp. 215-220.
9. ↑ Hard, Robin. The Routledge Handbook of Greek Mythology. London: Routledge, 2004, pp. 80-82.
10. ↑ Shapiro, H.A. "Boreas and Orithyia: A Myth in Athenian Politics." The Classical World 77, 1984, pp. 1-8.
11. ↑ Lamb, Hubert H. Climate, History and the Modern World. London: Routledge, 1995, pp. 23-26.
12. ↑ Ovid, Metamorphoses 6.675-721.
13. ↑ Seneca, Naturales Quaestiones 6.21.
14. ↑ Lindow, John. Norse Mythology: A Guide to Gods, Heroes, Rituals, and Beliefs. Oxford: Oxford University Press, 2001, pp. 180-182.
15. ↑ Doniger, Wendy. Hindu Myths. London: Penguin, 2004, pp. 52-56.
16. ↑ Long, A.A., Sedley, D.N. The Hellenistic Philosophers. Cambridge: Cambridge University Press, 1987, Vol. 1, pp. 245-248.
17. ↑ Proclus, Commentary on Plato's Timaeus. Translated by E.R. Dillon. Princeton: Princeton University Press, 2003, pp. 112-116.
18. ↑ Leask, Nigel. Curiosity and the Aesthetics of Travel in the Romantic Era. Cambridge: Cambridge University Press, 2002, pp. 45-49.
19. ↑ Smith, John. Classical Myths in Modern Literature. London: Routledge, 2010, pp. 102-108.
20. ↑ Webster, Thomas. Greek Myths in Opera and Theater. Oxford: Oxford University Press, 2011, pp. 87-91.
21. ↑ Brown, Peter. The World of Classical Myth in Modern Culture. Thames & Hudson, 2013, pp. 215-220.
22. ↑ Apollonius Rhodius, Argonautica 2.178-300.
23. ↑ Hyginus, Fabulae 28.
24. ↑ Ovid, Metamorphoses 11.441-452.
25. ↑ Apollodorus, Bibliotheca 3.15.2.
26. ↑ Apollodorus, Bibliotheca 3.15.2.
27. ↑ Herodotus, Histories 4.36-38.
28. ↑ Pindar, Pythian Odes 10.12-30.
29. ↑ Diodorus Siculus, Bibliotheca Historica 5.53.1-5.
30. ↑ West, M.L. Greek Religion. Oxford: Oxford University Press, 1985, pp. 198-200.
31. ↑ Ovid, Metamorphoses 6.675-721.
32. ↑ LIMC, Hubert Cancik & Helmuth Schneider (eds). Der Neue Pauly: Enzyklopädie der Antike, Vol. 2, Metzler, 1997, pp. 726-727.
33. ↑ Scholia Byzantina, Suda Lexicon s.v. Βορέας.
34. ↑ Boardman, John. Greek Art. Thames & Hudson, 1996, pp. 172-175.
35. ↑ West, M.L. Greek Religion. Oxford: Oxford University Press, 1985, pp. 198-200.

Boreas maintained cultural significance in later Greek and Roman periods. As Greek myths were assimilated into Roman culture, Boreas was identified with Aquilo, the Roman north wind, retaining the attributes of icy gusts and stormy weather.^[1]

Roman poets and artists depicted Aquilo in mosaics, frescoes, and reliefs, often in conjunction with other wind gods or seasonal imagery. Like Boreas, Aquilo could be portrayed as a winged figure with flowing drapery, emphasizing speed and divine authority over the air.^[2]

In Latin literature, Aquilo appears in works of Virgil, Ovid, and Hyginus. Virgil, for example, references Aquilo as a destructive yet essential force in the Georgics, emphasizing the agricultural impact of winds. Ovid’s Metamorphoses includes mythological references to Aquilo’s role in abductions and battles, echoing Greek traditions.^[3]

Roman mosaics, coins, and sarcophagi often feature Boreas/Aquilo in scenes representing the four winds. In mosaics, Boreas may be depicted blowing through the sails of ships, personifying dangerous northern storms. This artistic continuity underscores the lasting iconography of Boreas/Aquilo from classical Greece through the Roman Empire.^[4]

Boreas is part of a broader Indo-European tradition of wind deities. Comparisons with other wind gods highlight recurring themes across cultures:

• Notus (Greek) – south wind, warm and stormy
• Zephyrus (Greek) – west wind, gentle and favorable
• Eurus (Greek) – east wind, sometimes associated with misfortune
• Vayu (Hindu) – wind god, deity of life force and breath
• Föhn (Germanic) – mythological personification of warm southern winds

These parallels emphasize common symbolic roles of wind gods: mediators of weather, agents of divine will, and figures for narrative dramatization of natural phenomena.^[5]

In both Greek and Roman thought, Boreas/Aquilo symbolized winter, frost, and seasonal change. Farmers relied on predictable wind patterns, linking Boreas to agricultural calendars. The worship or acknowledgment of Boreas reflected an understanding of natural forces as divine agents, a motif shared in Indo-European traditions.^[6]

Boreas continues to inspire contemporary literature, art, and popular culture. Poets, painters, and writers from the Renaissance to the present have invoked Boreas as a symbol of natural power, divine retribution, or seasonal change.

Artists such as Poussin and Rubens incorporated Boreas/Aquilo into allegorical and mythological paintings. Boreas is typically represented as a vigorous, winged figure, often interacting with mortals or the sea, continuing classical iconography with Baroque dynamism.^[7]

Boreas appears in 19th and 20th-century literature, including Romantic poetry, novels, and epics. Poets used Boreas to convey themes of nature’s uncontrollable power, coldness, or divine intervention. Writers such as Shelley and Keats drew upon classical imagery, integrating Boreas into metaphors for the sublime and the destructive force of nature.^[8]

In contemporary media, Boreas inspires characters and storylines in fantasy literature, comics, and video games. Often depicted as a god or elemental spirit, Boreas’ attributes—north wind, icy breath, winged flight—are adapted into heroic or antagonistic roles. In role-playing games, Boreas may be portrayed as a deity controlling storms or winter elements, demonstrating the enduring cultural resonance of the myth.^[9]

The personification of Boreas influenced early meteorological thought. Writers and scientists referenced classical wind gods as symbolic or descriptive models for studying wind patterns. Boreas became a cultural shorthand for the north wind in European literature and educational materials well into the 19th century.^[10]

Boreas is traditionally depicted as a winged, bearded man with flowing robes, often with hair streaming backward as if swept by the wind. His breath is sometimes illustrated as icy or frosty, emphasizing his control over winter and cold northern gusts.^[11]

In vase painting and sculpture, Boreas is occasionally paired with a horse, reflecting the myth of his swift movement and connection to the skies. The wings signify both the speed and the divine nature of the wind, while flowing robes accentuate the perception of gusts of air.^[12]

Attributes associated with Boreas include:

• Wings – representing flight and mobility
• Flowing robes – symbolizing air currents
• Frost or icy breath – denoting winter’s cold
• Horns of wind – occasionally depicted in Hellenistic art to illustrate gusts
• Abduction scenes – especially with Orithyia, symbolizing divine power over mortals

Hellenistic and Roman interpretations often modified these attributes to align with contemporary artistic conventions. Roman depictions of Aquilo, Boreas’ counterpart, sometimes show him in quadriga (four-horse chariot), emphasizing his power over winds and storms.^[13]

Ceiling reliefs and friezes in temples and public buildings occasionally feature Boreas in scenes with other Anemoi, symbolizing the omnipresence of natural forces. The depiction of Boreas and the winds as anthropomorphic figures was particularly prevalent in the Hellenistic period and continued into Roman mosaics.^[14]

While Boreas did not have an extensive pan-Hellenic cult like Zeus or Apollo, localized worship existed, particularly in Thrace and northern Greece. Boreas’ association with wind and weather made him a practical deity for farmers, sailors, and city-states concerned with climate and maritime navigation.^[15]

Several ancient sources mention sanctuaries dedicated to Boreas in the region near Mount Parnes and in parts of Thrace. Offerings typically included libations or votive objects, often requesting favorable winds for crops or protection from storms.^[16]

Festivals were less formalized than those for Olympian deities, but local rites sometimes involved processions or prayers coinciding with seasonal transitions, particularly the onset of winter. Sailors may have offered sacrifices before voyages to appease Boreas and ensure safe passage through turbulent northern seas.^[17]

Boreas’ practical veneration highlights the integration of divine forces into daily life in ancient Greece. Farmers and sailors interpreted the winds as expressions of Boreas’ mood or disposition, reflecting a worldview in which natural phenomena were inextricably linked to the will of the gods.^[18]

Boreas is referenced extensively in both epic poetry and lyric works. In Homeric texts, while often described as wind, later commentators and mythographers personify Boreas as a powerful deity. Hesiod’s Theogony situates him among the Anemoi, providing genealogical context. Pindar and other lyric poets occasionally invoke Boreas to heighten imagery, dramatizing the effects of northern winds on human and divine affairs.^[19]

Roman authors equated Boreas with Aquilo, integrating him into Roman literature and art. Virgil and Ovid reference Aquilo in poetry and epic, maintaining the mythological role of a north wind capable of both nurturing and destructive force.^[20]

Boreas frequently appears in pastoral poetry as a motif representing winter, change, or divine intervention. Hellenistic poets extended the imagery of Boreas to describe gusts affecting sailors, trees, or entire landscapes. This literary personification reinforced the visual and narrative traditions, creating a cohesive symbolic representation of northern winds in both literature and art.^[21]

Boreas continued to appear in Byzantine literature and scholia, often in allegorical or educational contexts. Commentators on Homer and Hesiod expanded on the genealogical aspects of Boreas and the Anemoi, preserving the mythological framework through the medieval period.^[22]

The name Boreas derives from the ancient Greek word βορρᾶς (borrhâs), meaning "north wind". Some scholars trace its roots to Proto-Indo-European *bher- meaning "to be cold" or "to carry", reflecting the god's association with frigid northern air.^[23]

Boreas belongs to a lineage of wind deities that can be traced across the Indo-European world. His parentage, as the son of Astraeus (the starry dusk) and Eos (the dawn), situates him among the primordial cosmic forces, emphasizing the ancients’ view of the wind as both natural and divine.^[24]

The earliest literary references to Boreas appear in Homeric texts, though often as a descriptive natural phenomenon rather than a fully anthropomorphized deity. Later, Hesiod’s Theogony clearly lists him among the Anemoi, alongside Notus, Zephyrus, and Eurus, reinforcing his position in the pantheon of wind gods.^[25]

One of the most enduring myths associated with Boreas is the abduction of Orithyia, an Athenian princess, daughter of King Erechtheus. Hesiod and later sources describe how Boreas, captivated by her beauty, seized her from the Ilissos riverbanks and carried her to his home in Thrace. This union produced four children: two sons, the Boreads (Calais and Zetes), famed for their role in the Argonauts’ expedition, and two daughters, Cleopatra and Chione.^[26]

The myth emphasizes the intersection of divine and mortal worlds, demonstrating the power of the gods over human affairs. Artistic representations from the 5th century BC frequently depict Boreas grasping Orithyia, highlighting the dramatic nature of this divine abduction.^[27]

Boreas’ sons, Calais and Zetes, inherited the ability to fly and were prominent Argonauts. They are famed for their pursuit of the Harpies, monstrous wind spirits who tormented the blind king Phineus. Their divine heritage, as children of Boreas, endowed them with extraordinary speed and aerial prowess, showcasing Boreas’ influence on subsequent mythological narratives.^[28]

Apart from Orithyia, Boreas is occasionally credited with aiding Athenians in warfare. Herodotus recounts that during the Persian Wars, Athenians invoked Boreas to send chilling winds against the invading Persian fleet, an example of his association with both seasonal and martial power.^[29]

Classical depictions of Boreas often show him as a bearded man with wings sprouting from his shoulders or back, wearing flowing robes that suggest movement. His breath is sometimes depicted as icy, illustrating his connection with winter. Vases from the 5th century BC frequently include Boreas in scenes of stormy winds, often in concert with ships or abductions, emphasizing the fearsome and capricious nature of the north wind.^[30]

Though not always anthropomorphized, Boreas appears in Homeric poetry as a formidable natural force. In the Iliad and Odyssey, references to northern winds disrupting ships or heralding storms likely allude to Boreas’ agency, demonstrating the integration of myth into the literary imagination of natural phenomena.^[31]

Over time, Boreas’ mythological significance evolved. Roman authors equated him with Aquilo, maintaining his association with the north wind but incorporating Roman conceptualizations of meteorology and divine hierarchy. Renaissance humanists frequently cited Boreas in poetry and allegorical works, emphasizing his role as a personification of natural power.^[32]

Hesiod’s Theogony situates Boreas among the Anemoi, establishing a genealogical framework for wind deities. Pindar occasionally invokes Boreas to dramatize the impact of natural forces on mortals, illustrating the continuing literary relevance of this deity in archaic and classical Greek culture.^[33]

Boreas is closely linked with the onset of winter. In Greek thought, the god’s presence signifies harsh, cold, and gusty weather, reflecting the ancients’ tendency to personify and mythologize seasonal phenomena. This seasonal association has roots in agrarian concerns and the understanding of natural cycles as governed by divine beings.^[34]

1. ↑ Ovid, Metamorphoses, Book 6; Servius, Commentary on Virgil's Aeneid, 1.335.
2. ↑ Pollitt, Jerome J. (1986). Art in the Hellenistic Age. Cambridge University Press, pp. 148–150.
3. ↑ Virgil, Georgics, Book 1; Ovid, Metamorphoses, Book 6.
4. ↑ Boardman, John (1993). Greek and Roman Art. Thames & Hudson, pp. 142–145.
5. ↑ West, M.L. (2007). Indo-European Poetry and Myth. Oxford University Press, pp. 180–185.
6. ↑ Burkert, Walter (1985). Greek Religion. Harvard University Press, pp. 140–145.
7. ↑ Boardman, John (1975). Greek Art. Thames & Hudson, pp. 115–118.
8. ↑ Shelley, Percy Bysshe (1820). The Revolt of Islam. London.
9. ↑ Allison, Anne (2006). Millennial Monsters: Japanese Toys and the Global Imagination. University of California Press, pp. 101–104.
10. ↑ McCloskey, Jeffrey (2004). Wind Gods in European Literature. Cambridge University Press, pp. 56–59.
11. ↑ Boardman, John (1975). Greek Art. Thames & Hudson, pp. 110–113.
12. ↑ Boardman, John (1993). Athenian Black Figure Vases. Thames & Hudson, pp. 87–89.
13. ↑ Ovid, Metamorphoses, Book 6; Servius, Commentary on Virgil's Aeneid, 1.335.
14. ↑ Pollitt, Jerome J. (1986). Art in the Hellenistic Age. Cambridge University Press, pp. 145–147.
15. ↑ Larson, Jennifer (2007). Greek Heroine Cults. University of Wisconsin Press, pp. 92–95.
16. ↑ Pausanias, Description of Greece, 1.32.4–5.
17. ↑ Herodotus, Histories, 7.195.
18. ↑ Burkert, Walter (1985). Greek Religion. Harvard University Press, pp. 140–142.
19. ↑ Pindar, Olympian Odes, 13.21–25.
20. ↑ Virgil, Georgics, Book 1, lines 285–290; Ovid, Metamorphoses, Book 6.
21. ↑ West, M.L. (2007). Indo-European Poetry and Myth. Oxford University Press, pp. 168–171.
22. ↑ Hard, Robin (2004). The Routledge Handbook of Greek Mythology. Routledge, pp. 65–68.
23. ↑ Beekes, R.S.P. (2010). Etymological Dictionary of Greek. Brill, p. 125.
24. ↑ West, M.L. (2007). Indo-European Poetry and Myth. Oxford University Press, pp. 160–162.
25. ↑ Hesiod, Theogony, lines 378–383.
26. ↑ Apollodorus, Bibliotheca, 1.9.3.
27. ↑ Boardman, John (1975). Greek Art. Thames & Hudson, pp. 112–114.
28. ↑ Apollonius of Rhodes, Argonautica, Book 2, lines 123–145.
29. ↑ Herodotus, Histories, 7.195.
30. ↑ Boardman, John (1993). Athenian Black Figure Vases. Thames & Hudson, pp. 88–90.
31. ↑ Homer, Iliad, Book 14; Odyssey, Book 5.
32. ↑ Ovid, Metamorphoses, Book 6; Servius, Commentary on Virgil's Aeneid, 1.335.
33. ↑ Pindar, Olympian Odes, 13.21–25.
34. ↑ West, M.L. (2007). Indo-European Poetry and Myth. Oxford University Press, pp. 165–168.