Furies: Erinyes

Hesiod, writing in Greek, before the Latin works of Virgil, characterises the Furies differently to that of Virgil's casting. This article describes the deployment of the Furies in literature and will contrast and compare the Furies (Erinyes) the Fates and the Hesperides, in Classical, Contemporary and Modern Literature, to achieve this. A view of the cast that has been used for narrative, allegory and historical example will generate a clear picture of the problems that translation can produce: a process of translation, passage and adaption which has taken place in a period of time that spans thousands of years; a process of translation, passage and adaption that spans different language groups; and, a process of translation, passage and adaption that spans various geographical locations. The casting, and the characterisation of the Furies will become clear by identifying the points of deployment.

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^{[A]^} Pseudo-Seneca - conjected to be a portrait of Hesiod.

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^{[B]^} A bust of Virgil, in Naples.

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^{[C]^} An 'idealized' portrayal of Homer.

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^{[D]^} Dante Alighieri, at work.

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^{[E]^} Æschylus: Bust of Æschylus from the Capitoline Museum, Rome.

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^{[F]^} Plato: Roman copy of a portrait bust by Silanion for the Academia in Athens.

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^{[G]^} John Milton: Statue, from the Temple of British Worthies.

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^{[H]^} Geoffrey Chaucer: 'Father of English literature'.

^{[I]^} William Shakespeare: 'Chandos portrait' - National Portrait Gallery.

^{[J]^} Charles Dickens: At his desk in 1858AD.

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^{[K]^} Isaiah, of Canonical Scriptures: fresco by Michelangelo - Sistine Chapel ceiling (c. 1508AD-1512AD) Vatican City, Rome.

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^{[L]^} Bust of Marcus Tullius Cicero.

Furies: Erinyes

Virgil, in the Æneid, alludes to three female characters as having the behaviour of furies. A group of identifiable characters, it can be deduced, described as furies, first appear, with attributable names in textual sources, as Hesiod's Furies, in the Theogony. Referentially, in the Odyssey, Homer portrays the cyclops as a venging force. In consequence, Homer's description of the Cyclops' behaviour, provides an element of confirmation that Hesiod writes about the Furies using the Cyclops - Æschylus can be deemed to have a similar opinion - as an example.

Picture index

^{*(Pictures in order of article introduction).}

Author	Date	Location	Author	Date	Location
Hesiod	(c.750BC-650BC)	Ancient Greece	Milton	1608AD-1674AD	England
Virgil	70BC-19BC	Roman Republic	Chaucer	1343AD-1400AD	England
Homer	(c.800BC-700BC)	Ancient Greece	Shakespeare	1564AD-1616AD	England
Dante	1265AD-1321AD	Republic of Florence	Dickens	1812AD-1870AD	England
Æschylus	(c.525BC-455BC)	Ancient Greece	Isaiah	(c.740BC-686BC)	Kingdom of Judah
Plato	(c.428BC-347BC)	Classical Greece	Cicero	106BC-44BC	Roman Republic
Apollodorus	(c.180BC-120BC)	Hellenistic Greece
Scipio	236BC-183BC	Roman Republic
Diogenes	(c.230BC-150BC)	Babylonia

^{*Also, see Gallery below.}

Furies: Erinyes

Virgil's furies have names: Tisiphone, Alecto and Megæra (Megaera). These names are neither used by Hesiod nor used by the other Greek authors. Plato, however, talks about Eucleides the Megarian, in the dialogue Theaetetus (Fowler (1921) Theaetetus (Plato) lines: 01-04., p. 03., and lines: 03-06., p. 09). Eucleides is a philosopher from Megara. Consequently, the name Megaera and , in the context of philosophy with mythology, the location Megara are both not used by other Greek authors. Plato also, in The Republic of Plato (Davis (1849) The Republic of Plato, (Plato) Chap.14., Book 10., lines: 04-09., p. 308) writes about Fates. Plato names the Fates, first described and associated with the Furies by Homer then named and associated, along with the identified Furies, by Hesiod, as Lachesis, Clotho and Atropos. Therefore, the Fates, written about by Plato, are, also named, with the same names as used by Hesiod: 'Klotho, Lachesis, and Atropos' (Lattimore (1965) Theogony (Hesiod) lines: 210-220., p. 136). Virgil, does not name the fates; Homer, does name the fates; Plato, does not write about the furies; Hesiod, identifies the Furies, he names the Fates and then names the Hesperides. Hesiod, Homer and Plato write in Greek, before the writings, in Latin of Virgil. The contrast and the comparison between Hesiod's Furies, Fates and Hesperides are important points of reference for the identification and characterisation of Virgil's furies.

Hesiod names, in the Theogony, the Cyclops as Bronte, Steropes and Agres (they are thought, 'of the violent spirit'). He also, names the Gorgon sisters: Sthenno, Euryale and Medusa who are described as the 'singing Hesperides'. The three Gorgon sisters, the 'singing Hesperides', are neither referenced as Furies nor as Fates by Hesiod. They are a separate female trio, apart from the Fates, in Hesiod's Theogony. The 'singing Hesperides', as the Furies and the Fates, are not an exclusive group without associates, however: Persephone, Cronus and 'Mnemosyne' are, perhaps, three examples of extra group associates. Dante, characterises three females in The Divine Comedy. They each have the same names, as used by Virgil: Tisiphone, Alecto, and Megæra (Megaera). Dante, also, characterises Medusa (Medusa is described by Hesiod but is not portrayed by Homer, or any other early Greek Classical author. Virgil, the later author, writing in Latin, also, has no direct reference to her) in the stage-casting of a Fury. Furthermore, Dante, uses no reference of the 'singing Hesperides', Hesperides, or Sirens. Unlike the allusions in metaphors and the direct references, used by both Homer and Virgil. Dante, uses his stage-casting of the Furies (Tisiphone, Alecto and Megæra) as the guards of Hell, substituting the locational setting of the 'singing Hesperides' who guard the distant 'orchards' with the illusional metaphor of Hell the location. The distant islands away, of the Hesperides are substituted by Dante for the close proximity, of the place of the Furies, in Hell. Therefore, the reader of Dante's The Divine Comedy assumes, without knowledge of the earlier foundation works, that the occupants of Hell are all 'Furies' when, perhaps, they are but all Hesiod's 'Hesperides'.

In Consequence, Medusa and 'Night' are characterised by Dante, with an unusually allusive narrative structure: The Hesperides, by another name of Hesiod's description (Virgil's furies, by name. Also used by Dante, as Furies: Tisiphone, Alecto and Megæra) become Medusa in turn, as necessary, with night, as the Sun sets, when Medusa - or, one other of the sisters - will appear, in the guise of an active Medusa (dreaded, wailing, becomes dread, duty bound (cursed) at night-time after Sun-set). Dante portrays Hesiod's Medusa, a 'Hesperide', as a fury next to, in the staging of events, Virgil's casting of the furies and in so doing is the first author to combine Hesiod's early Greek named example of Medusa with the later named examples (from the Latin text, as the furies of the Underworld) described by Virgil. The character description and identification, of three or four textual examples, in discussion, is blurred by this process. Medusa, having not been described by other authors, is characterised, by association, with the descriptions of other cast members who have been described variously by both Greek and Latin authors. Medusa is of course, the first, along with her sisters (described by Hesiod in Greek) of the Hesperides to be named. Virgil's furies (described by Virgil in Latin) with all of the attributions, latterly, given to Medusa by Dante, are spoken about, in translations, as Furies by Dante, leaving to the reader's imagination their contributions to the narrative quality, as 'singing Hesperides'. Finally, it is, perhaps, that the 'singing Hesperides' described latterly by Dante, in retrospection, behave in action as with the English verb fury - the action of being furious - rather than being a given group with a title, named and cast as Furies - the furious singing Hesperides. The names of Virgil's furies used by Dante are: Tisiphone, Alecto and Megæra (Megaera). Comparatively, Hesiod's 'singing Hesperides' are: Sthenno, Euryale and Medusa. Hesiod's Medusa is the fourth fury, cast by Dante and staged next to Virgil's three furies.

List of Names used by authors

Name	Author	Author
Bronte, Steropes and Arges	Hesiod's 'Furies'
Klotho, Lachesis and Atropos	Hesiod's Fates	Plato's Fates
Sthenno, Euryale and Medusa	Hesiod's Hesperides	Dante's fury - Medusa
Tisiphone, Alecto and Megaera	Apollodorus' 'Furies'	Apollodorus innovates Hesiod's text
Tisiphone, Alecto and Megaera	Virgil's furies	Dante's furies
Polyphemus	Homer's 'Fury' - Cyclop(s)	Hesiod uses the name 'Triton' , for Polyphemus

Furies: Erinyes

Apollodoros of Athens innovates Hesiod's text. '(The) Apollodoros (Library, Holdings, MS text) differs from Hesiod (Hesiod's Theogony) in only a few details, although it was written almost a thousand years after the Theogony' (Caldwell (1987) Theogony (Hesiod/Apollodoros) lines: 37-39., p. 02). Apollodoros' works are written before the works of Virgil. Apollodoros innovates the text of Hesiod (for a new audience) before the writing of Virgil's Æneid and, it can be assumed, provides the examples for the names of Virgil's Furies that differ from the Furies of Hesiod's text. No other Greek author, before the writing of Apollodoros' version of Hesiod's theogony, had given direct reference to the names of the Furies. Apollodoros writes between c. 180BC-120BC, in a period of political consequence (following the office of the Consul of the Roman Republic, Scipio Africanus the Elder) and was a pupil of, the Stoic philosopher, Diogenes of Babylon.

• 
  Roman bronze bust, of Scipio Africanus the Elder ^{[ac]^} .
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  Diogenes Babyloicus. The Stoic philosopher, Diogenes of Babylon ^{[ad]^} .

^{*Also, see Gallery below.}

Other authors have taken characters from the cast list, of the early Greek authors, for their study and descriptive works. Authors, scholars and academics have been using material from Hesiod's writings, including examples of the Furies, Fates and Hesperides through the whole, this suggestion is without exaggeration, of Historic time. From the very beginnings, of the written text - throughout pre-Christian, Christian and Schismastic literature the Furies, Fates and Hesperides (furious) have been identified with and characterised as 'parental mediators', administrators, with the actions of a chaperone, supervision and consequence and, as such, omnipresent - (ominous) - and omnipotent in the coordination of their behaviour. Evidentially, through enforcement, creating the effects for the psychological implementation of self-restraint, compliance and cooperation. The characteristic ideal behaviour of the chaperoned, to a parental authority, through guidance and control. In a chaperoned environment, therefore, with purpose, through rule, crime and punishment, for self-regulation, the creation of a conscience, through example, is produced: examples so being, are that of Cronos and Uranos.

Two further examples, of early Greek imagery and characterization used by authors, and two not writing in Greek, within literary texts. Each with a much later time-frame of reference than the Latin, Greek and early Greek authors. However, the abstract use of the imagery is no different, in allusion, than from the early examples. These examples have passed from a time of pre-Christianity to a time of Christian Schism:

• '...(K)ept in that state, had not the folly of man (L)et in these wasteful (f)uries (Furies), who impute (F)olly to me, so doth the Prince of hell...' (Vaughan (186-) Paradise Lost (Milton) Book 10, lines: 608-643., p. 254). '...(B)ut fate withstands, and to oppose th' attempt Medusa with Gorgonian terror guards...' (Vaughan (186-) Paradise Lost (Milton) Book 02, lines: 587-6618., p. 43). '..by harpy-footed (f)uries Furies haled, (A)t certain revolutions all the damned (A)re brought...' (Vaughan (186-) Paradise Lost (Milton) Book 02, Lines: 587-618., p. 43).
• 'Out of the ground burst an infernal Fury, sent from Pluto at request of Saturn' (Tatlock (1921) The Knight's Tale (Chaucer) lines: 05-06., p. 45). 'Out of the ground a fyr (Fury) infernal sterte (jump/leap/escape), from Pluto and, at the request of Saturne (Saturn)...' (Morris (1891) The Knight's Tale (Chaucer) Vol.2., lines: 1826-1827., p. 83). 'The furies (Furies) thre (three) with al (all, each with a) hire mortel (dangerous) bronde (flamed torch/torch aflame)' (Morris (1891) Legende of Goode Women (Chaucer) Vol.5., line: 25., p. 346).

There are other works that will help to link this study to Medusa, and the informous cast from the Theogony. All of who, collectively, create the Hesperides taken from Hesiod's original text monologue. This list of character description, and imagery, is represented, in the Latin texts, with a different cast and a recasting of some of the familiar characters: with new characters and some old characters in different situations, in the Latin texts. 'Parolles: "he was mad for her, and talked of Satan, and of limbo, and of (f)uries, and I know not what..."' (Irving (19--) All's Well That Ends Well (Shakespeare) Act.5., Scene.3., lines: 23-25., p. 312). 'Antipholus of Syracuse: "O, train me not, sweet mermaid, with thy note, (T)o drown me in thy sister's flood of tears: (S)ing, (s)iren, for thyself, and I will dote:.."' (Irving (19--) The Comedy of Errors (Shakespeare) Act.3., Scene.2., lines: 48-50., p. 387). 'Aaron: " ...(T)o wait, said I? (t)o wanton with this queen, (T)his goddess, this Semiramis, this nymph, (T)his (s)iren, that will charm Rome's Saturnine, (A)nd see his shipwreck and his commonweal's "' (Gollancz (1900) The Tragedy of Titus Andronicus (Shakespeare) Vol.9., Act.2., Scene.1., lines: 21-24., p. 32). 'Pyramus: "Sweet moon, I thank thee for thy sunny beams; ([)bright: I thank thee, moon, for shining now so (F)or by thy gracious, golden, glittering streams. I trust to taste of truest Thirsby's sight. But stay; - O spite! But mark, - poor knight, (W)hat dreadful dole is here! (e)yes, do you see? How can it be? O dainty duck! O dear! Thy mantle good, (W)hat! (s)tained with blood? Approach, ye (f)uries fell! O (f)ates! (c)ome, come; (C)ut thread and thrum; (Q)uail, rush, conclude, and quell!" Theseus: " This passion, and the death of a dear friend, would go near to make a man look sad (but, not you ?)"' (Irving (19--) A Midsumer Night's Dream (Shakespeare) Act.5., Scene.1., lines: 21-41., p. 188). 'Brutus: "Fates, we will know your pleasures: (T)hat we shall die, we know; 'tis but time, (A)nd drowning days out, that men stand upon"' (Gollancz (1900) The Tragedy of Julius Cæsar (Shakespeare) Vol.9., Act.3., Scene.1., lines: 98-100., p. 406). 'Artemidorus: "If thou read this, O Cæsar, thou mayst live; If not, the Fates with traitors do contrive"' (Gollancz (1900) The Tragedy of Julius Cæsar (Shakespeare) Vol.9., Act.2., Scene.3., lines 15-16., p. 402). The allusion of opposites, in the form of two, is more firmly fixed in the Latin texts, while the early Greek texts tend to use three forms, conceptual frames, for mediating and coordinating the structure of the text's narrative: Good and Bad; Night and Day; Man and Female, used in Latin texts, was for the early Greeks, Good, Bad and Evil; Night, Day and Chaos; Man, Female and Monster. This structure is perhaps the reason for the furies, in the Latin texts, appointed as Furies (female/demons) and Fates (female/demons) of night, rather than the Greek form as Furies (male) of day, Fates (female) of day and Hesperides (demons) - the Hesperides could, also, be described in Contemporary-modern English as Demons (monsters) - of night (the mortal-dead) and day (the immortal-dead). It could possibly be that the Latin authors, do not accept the existence (in any dimension or adjectival list: alive or dead, immortal, mortal, night, day, chaos, god, goddess, hero, nymph, harpy) of Cyclops and Monsters. The illusion of this characterization and imagery, if used, in generalised literature, beyond the early Greek texts and given genre examples, as such, is restrained, when used. 'That female in black - not the one whom the Lord's-Day-Bill Baronet has just chucked under the chin; the shorter of the two - is 'Jane': the Hebe of Bellamy's. Jane is not as great a character as Nicholas, in her way (Nicholas, the butler at Bellamy's). Her leading features are a thorough contempt for the great majority of her visitors; her predominant quality, love of admiration...Jane is no bad hand at repartees, and showers them about, with a degree of liberality and total absence of reserve or constraint...She cuts jokes with Nicholas...' (Vallance (2009) A Parliamentary Sketch (Dickens) lines: 35-69/01-12., pp. 68-69).

Here are three extracts, that have been taken from: 1. The Hebrew version, of the Book of Isaiah; 2. The Wycliffe version, of the Book of Isaiah; and, 3. the Latin Vulgate version, of the Book of Isaiah. The characterization, imagery and staged scene, portrayed, within these passages, albert being read, by you the reader, in Contemporary English, has, as can be read, familiar details when compared to the information provided from the, Classical, texts in Greek. It might be a good time, here, to think of the passage of time, the cross of language options and the varied geographic locations associated - and the possible translation adjustments conveyed - that will naturally acquire and have acquired, by association, over time, between a comparison (for the, general reader) of the pre-Christian, Greek, texts and the three versions of the 'Christian bible', that follow:

• ^1. An extract, for comparison, taken from The Hebrew Bible, Isaiah 13, Verses: '20. It shall never be inhabited, neither shall it be dwelt in from generation to generation; neither shall the Arabian pitch tent there; neither shall the shepherds make their fold there. 21. But wild-cats shall lie there; and their houses shall be full of ferrets; and ostriches shall dwell there, and satyrs shall dance there. 22. And jackals shall howl in their castles, and wild-dogs in the pleasant palaces; and her time is near to come, and her days shall not be prolonged' (Bible, The Hebrew, Book of Isaiah., Chap.13., Verses: 20-22).

• ^2. An extract, for comparison, taken from The Wycliffe Bible, Isaiah 13, Verses: '20. It shall not be inhabited till into the end (it shall not be inhabited again), and it shall not be founded till to generation and generation; a man of Arabia shall not set tents there, and shepherds shall not rest there. 21. But wild beasts shall rest there, and the houses of them shall be filled with dragons; and ostriches shall dwell there ( and owls shall rest there), and hairy beasts shall skip there. 22. And bitterns shall answer there in the houses thereof, and flying serpents in the temples of lust. It is nigh that the time thereof come, and the days thereof shall not be made far; (And bitterns shall cry there in its houses, and flying serpents in its beautiful palaces. It is near, or very soon, when that time shall come, and its days shall not be prolonged;)' (Bible, The Wycliffe, Book of Isaiah., Chap.13., Verses: 20-22).

• ^3. An extract, for comparison, taken from The Latin Vulgate Bible, Isaiah 13, Verses (in, Latin): '20., non habitabitur usqu in tinem et non tundabitur usque ad generationem et generationem nec ponet ibi tentoria Arabs nec pastores requiescent ibi - (in, English: 20. It shall no more be inhabited for ever, and it shall not be founded unto generation and generation: neither shall the Arabian pitch his tents there, nor shall shepherds rest there). 21., sed requiescent ibi bestiae et replebuntur domus eorum draconibus et habitabunt ibi strutiones et pilosi saltabunt ibi - (in, English: 21. But wild beasts shall rest there, and their houses shall be filled with serpents, and ostriches shall dwell there, and the hairy ones shall dance there:). 22., et respondebunt ibi ululae in aedibus eius et sirenae in delubris voluptatis - (in, English: 22. And owls shall answer one another there, in the houses thereof, and sirens in the temples of pleasure)' (Bible, The Latin Vulgate, Book of Isaiah., Chap.13., Verses: 20-22).

The following three examples, are from Homer's Odyssey: 'Next, where the Sirens dwell, you plough the seas; (T)heir song is death, and makes destruction please' (Pope (1845) Odyssey (Homer) Book 12., lines: 03-04., p. 223). 'In flowery meads the sportive Sirens play, (T)ouch the soft lyre, and tune the vocal lay; (M)e, me alone, with fetters firmly bound, (T)he gods allow to hear the dangerous sound. Hear and obey: if freedom...fetter...added...to band' (Pope (1845) Odyssey (Homer) Book 12., lines: 03-08., p. 227). '(O)ur swift approach the Siren quire describes; (C)elestial music warbles from their tongue, (A)nd thus the sweet deluders tune the song:...' (Pope (1845) Odyssey (Homer) Book 12., lines: 28-30., p. 227). Writing at the same time, Hesiod does not talk about Siren, singular, or Sirens, plural (Note: It should be recognised that the grammatical case references, singular and plural are not in use, at this point, as sense locators, rather than as numerical attributes for a noun adjective - sing:ular). However, Homer does: (Σειρήνα - Siren); Σειρήνων - Sirens; δεινή - plight; (Δεινή - Plight) - (Maginn (1850) Odyssey (Homer) Book 23., lines: 322-332., p. 198).

Furies: Erinyes

• Virgil's description of the activities of Fates and Furies: 'So the Fates (W)ho know not change have bid their spindles run, (A)nd weave for this blest age the web of doom' (Collins (1877) Pastorals (Virgil) lines: 22-24., p. 23). 'The Furies couch in iron cells (this is a reference, taken from Virgil's Æneid), (A)nd Discord maddens and rebels; (H)er snake-locks hiss, her wreaths drip gore. " Full in the midst an aged elm (B)roods darkly o'er the shadowy realm: There dream-land phantoms rest the wing, (M)en say, and 'neath its foliage cling. And many monstrous shapes beside within the infernal gates abide; (T)here (C)entaurs (centaurs), (S)cyllas (scyllas), fish and maid, (T)here Briareus' hundred-handed shade, (C)himæra (chimaera) armed with flame, Gorgons and Harpies make their den, with foul pest of Lerna's fen, (A)nd Geryon's triple frame"' (Collins (1877) Æneid (Virgil) lines: 01-15., p. 111). The Furies and the Fates of Virgil.

Hesiod, however, provides a further, group locator description, as an example, that of the 'singing Hesperides', which Virgil does not use. It is suggested above, that the Hesperides, taken together as a group, can be considered to be Demons. Hesiod, writes using group locators as such: Furies, Fates and Hesperides (collectively, Demons, described as a group locator, alive and dead, both as either, mortal or immortal). Homer writes using group locators, as such: Furies, Fates and Sirens. Virgil, writes, using group locators, as such: Furies and Fates and does not have a separate category locator, for Hesiod's singing Hesperides (Demons). However, as Homer, Virgil does write about '..(T)he islands(') of the Sirens, dangerous once, (A)nd bleached with many sailors' bones' (Long (1879) Æneid (Virgil) lines: 1083-1084., p. 168). The Greek dramatist, Æschylus, describes Furies that both sing and have songs sung about them: '..the Furies (τόν(δ)' 'Ερινύων) hymn of joy' (Davis (1868) Agamemnon (Æschylus) line: (Grk.) 645., p. 64., and, line: (Eng.) 645., p.65). The translations from Æschylus describe these 'singing Furies' as Erinnyes (Έρινύες - Erinnyes) - (Erinyes - Έρίνύες) erinnic, euphemistically, through irony - the descriptions are satirical (Davis (1868) Agamemnon (Æschylus) lines: 05-08., p.VII., also, line: (Grk.) 663., p. 46., and, line: (Eng.) 663., p.47). It should be assumed that among the translations of the early Greek and Latin Greaco Classics, during the Byzantine period - the available, 10th century AD manuscripts have dramatis personae parenthesis (Davis (1868) Agamemnon (Æschylus) lines: 15-22., p. 10) - that the early translations of the first Greek authors (Hesiod and Homer) introduce the Proper noun, attribution, Erinnyes (later to become Erinyes) - the dramatic becomes lyric. Consequently, the transliteration of ironic produces the reference: eironikos (ironic - Grk: ειρωνικός - eironikόs - ironic); and, the transliteration of irony produces the reference: eironeia (irony - Grk: ειρωνεία - eironeia - irony). Both, ironic and irony have a similar tonal value and written representation, in English (when read from Greek) to that of Eumenides (Eumenides - Grk: 'Ευμενίδες - Evmenides - Eumenides) the name of the Greek tragedy play, about the Furies in pursuit (the tragic irony contained, is proverbial) by Æschylus (Morshead (1909) The Furies (Æschylus) p. 115., and, Plumptre (1906) Eumenides (Æschylus) p. 137). Euphemistically, the Furies are placated with the epithet Eumenides, in the form of a propitiate: kindly goddesses, 'gracious powers', 'gentle ones' (Morshead (1909) The Furies (Æschylus) lines: 08-14., p. 115., and, Plumptre (1906) Eumenides (Æschylus) lines: 980-990., p. 183).

• '...now having drunk men's blood, and so (G)rown wilder, bolder, see, the revelling band, Erinnyes of the race, still haunt the halls, (N)ot easy to dismiss' (Plumptre (1906) Agamemnon (Æschylus) lines: 1999-1103., p. 65).

• 'Ah! ah! ye handmaids: see, like Gorgons these, (D)ark-robed, and all their tresses hang entwined (W)ith many serpents. I can bear no more....(T)hese are no phantom terrors that I see: (F)ull clear they are mother's vengeful hounds' (Plumptre (1906) The Libation-Pourers (Æschylus) lines: 1038-1043., pp. 135-136).

• '(T)he bloodless food of demons, a mere shade. Wilt thou not answer? Scornest thou words, (A) victim reared and consecrate to me? Alive thou'lt feed me, not at alter slain; (A)nd thou shalt hear our hymn as spell to bind thee' (Plumptre (1906) Eumenides (Æschylus) lines: 289-296., p. 153).

^{The Oresteia trilogy of tragic dramas, 458BC by Æschylus: Agamemnon, The Libation Bearers (Choephoroi) and Eumenides (The Furies).}

An over casting description of the Furies as being goddesses, rather than gods creates an ironic tension that is lost in the Latin translations. It has been suggested, that in the works of the Ancient Greek authors, Hesiod and Homer, that there are textual examples for the reader to infer that the Furies are generally described as male and that they are likely to be the Cyclops. It has been suggested that Æschylus himself describes the Furies as the Cyclops. All of which places the conceptualisation of irony (conceptual euphemism) Erinnyes and Eumenides (both Proper nouns as the written representations of euphemism), female and male explanations, describing the Furies, at a time after the original works of Æschylus, in translations and foreign observations. Translations and foreign observations towards and not from Æschylus, towards and not from Homer and towards and not from Hesiod. Also, Æschylus' plays and the their style of attitude, without the inclusion of translation, should be interpreted with a view that acknowledges the establishment of the Roman Republic in 509BC, overthrowing the Etruscan Lucius Tarquinius Superbus' Kingdom of Rome. Æschylus writes at a time for an audience, of unknown political bias, which can be assumed to have been humiliated and is self-conscious, if not in a position of compromise, about its past victorious cultural expectations and its future philosophical motives.

Irony, it can be assumed, in consequence, is the root construction of the Proper noun Erinnys/Erinnyes/Erinys/Erinyes and Eumenides when used across translations of the Greek, Latin and English languages. Therefore, Æschylus' Furies are Erinnyes Furies, Furies Erinnyes, and as such, the translation is interpreted 'euphemistically' to be: (/'..the sweet-voiced lyre..'/), of ironically described and represented behaviour. This is an adjective case, that describes the Furies as the singing, singing Furies of song not described as such by Hesiod and Homer, the dramatic becomes lyrical. Plato provides some testimony as to a cross motive, in behaviour, between the Sirens and the Fates, without attribution towards the Furies generating a Fate parity or Siren parity of opposition (Hesiod's named Fates are staged alongside Homer's Sirens for the first time) and therefore, removing the use of a third group locator example. The same principle can be applied to Virgil's Sirens. They are, we can consider, siren Furies, or at least, at some point, they are siren Furies. A Fury, of a grouped locator Furies, described, for a particular purpose as a Siren or siren Fury. Medusa and her sisters are, perhaps, examples, historically of this type of adjective description: sirens (demonic), originally of Hesiod's texts, however, they are of the Hesperides group locator description, for them not to be confused as Hesiod's Furies - the Cyclops. The context here that conditions this case, as an abstract consideration, is irony - they are a vehicle of fate, but not Fates. The irony of their behaviour - but, not the motive governed by fate - is that of, the singing Sirens, singing, with an Ulterior purpose unknown to the victim, as either, attraction, or singing as defence (demonically). The negative factor conditions the victim and not the Siren who profits from the exchange at a loss to the victim. Sirens and separately the Furies, are governed by fate. Virgil brings the two locator groups together, as does Dante, as Furies, with reference to the translations. However, the early Greek authors describe two separate locator groups and, separately, the Fates. '..many a man from many a home is driven, (A)s banned by double scourge that Ares loves, (W)oe doubly-barbed, (D)eath's two-horsed chariot this..(W)hen with such grief as freight a herald comes, (T)is meet to chant the Erinnyes' (Erinyes) dolorous song; (B)ut for glad messenger of good deeds wrought (T)hat bring deliverance, coming to a town (R)ejoicing in its triumph,...how shall I (B)lend good with evil, telling of a storm (T)hat smote the Achæns (Achaens), not without God's ('...the gods'...') wrath (Fury! - Άριννύς - fury - μανία - mania)? For they a compact swore who erst were foes, (O)cean and (F)ire, and their pledges gave, (W)recking the ill-starred army of the Argives;...' (Plumptre (1906) Agamemnon (Æschylus) lines: 625-637., p. 40). '...the gods' anger smote...'^{^ [c]} (Morshead (1909) Agamemnon (Æschylus) line: 05., p. 29). '..should make his song of triumph at the Furies' door' (Grene (1959) Agamemnon (Æschylus) line: 645. p. 55). 'A pæan to the Furies would become (T)he bearer of such pond'rous heap of ills' (Potter (1909) Agamemnon (Æschylus) lines: 04-05., p. 202). '"..(T)he victim whom we claim, (T)hat we his mother's blood may wash away; (A)nd over him as slain (S)ing we dolorous, frenzied, maddening strain, the song that we, the Erinnyes (Erinyes), love so well, (T)hat binds the soul as with enchanter's spell (W)ithout one note from out the sweet-voiced lyre^{^ [b]}, (W)ithering the strength of men as with a blast of fire"' (Plumptre (1906) Eumenides (Æschylus) Verses: 297-374., lines: 21-26., p. 219., and, lines: 01-02., p. 220)^{^ [b]}.

The Furies: Phase 1. Hesiod's and Homer's Cyclops. Phase 2. Æschylus' unnamed cloaked figures. Phase 3. Apollodoros' and Virgil's three females (not the Cyclops). Phase 4. Dante introduces a forth female Fury (Medusa). Phase 5. Authors after Dante choose examples of the Furies from the previous phases (generally unnamed examples). The Furies become the Eumenides (as Furies for the readers of Æschylus) and then the Erinyes (by extension, through further elaboration of the use of the concept, of the euphemism of the Eumenides). The Furies: Erinyes.

An afterthought

The Greek word Ελλάδα (Eng: Greece) is reminiscent of the English word Error, in its written representation. Coincidently (as mentioned above) William Shakespeare has a stage play named The Comedy of Errors (Irving (19--) The Comedy of Errors (Shakespeare) p. 379). Also, ironically, the title could be named The Comedy of Erinyes.

Also, of further interest

• Hesiod's Hesperides, are Homer's Sirens.
• Spirit possession - possessed.
• Revenge - vengeance; Avenger.
• Lion (Panthera leo) a pride of lions; Leopard (Panthera pardus) a leap of leopards; Tiger (Panthera tigris) a streak of tigers.
• Tabernacle: (Hebrew) מִשכָּ׀, mishkan, "residence" or "dwelling place"; Tent: (Hebrew) אוהֶל, hel, "a portable shelter, usually found with pegs, guy ropes and poles"; Sentry box; Nissan hut; Classical architecture, Classical order.
• DC Comics, Warner Bros. (1934AD) - Batman and Superman; Marvel (comics) The Walt Disney Company (1939AD) - Spider-Man, the Hulk (comics) and the Avengers, including Captain America and Iron Man - illustration, cartoon and cartouche.

Gallery^{[aa]^}

^{*(Pictures in alphabetical order).}

• 
  Æschylus: (c.525BC-455BC) Ancient Greece.
• 
  Geoffrey Chaucer: (c.1343AD-1400AD) England.
• 
  Cicero: 106BC-44BC, Roman Republic.
• 
  Dante Alighieri: 1265AD-1321AD, Republic of Florence.
• 
  Charles Dickens: 1812AD-1870AD, England.
• 
  Diogenes of Babylon: (c.230BC-150BC) Babylonia (the era of, Apollodorus: (c.180BC-120BC) Hellenistic Greece) ^{[ab]^} .
• 
  Scipio Africanus the Elder: 236BC-183BC, Roman Republic (the era of, Apollodorus: (c.180BC-120BC) Hellenistic Greece) ^{[ab]^} .
• 
  Hesiod: (c.750BC-650BC) Ancient Greece.
• 
  Homer: (c.800BC-700BC) Ancient Greece.
• 
  Isaiah: (c.740BC-686BC) Kingdom of Judah.
• 
  John Milton: 1608AD-1674AD, England.
• 
  Plato: (c.428BC-347BC) Classical Greece.
• 
  William Shakespeare: 1564AD-1616AD, England.
• Virgil: 70BC-19BC, Roman Republic.
  Virgil: 70BC-19BC, Roman Republic.

Notes, line: 1.

^{1.1.^} In Dante Alighieri's, The Divine Comedy of Dante, The Inferno, he writes about the Furies, as such: '...(T)hree hellish Furies, stained with blood...little snakes for hair...'. Dante then goes on to describe them as 'Erinnyes' (Erinyes) and names the three (Vincent, (1904) The Divine Comedy'., Canto.09., lines: 30-40., p. 57) with the names of Virgil's furies, Tisiphone, Alecto and Megaera, from the Æneid. The translations of Dante, use the Proper noun Erinnyes for Erinyes. both Erinnyes and Erinyes are used to enhance a description of the Proper noun Furies. Therefore, the Erinnyes are the Furies. Latterly, however, the Proper noun Erinnyes has been reduced, in its spelling, to the Proper noun Erinyes. This is a very recent trend, probably 19th century Victorian. Therefore, in modern translations, by some publishers, we now have the Proper noun Erinyes used as a referral noun to acknowledge the Proper noun Furies. Erinn or Erin being the singular for 'Fury', when taken as an example from the Greek suffix word form '..ες' use, plural case; and, the Greek suffix word form '..ων' use, possessive clause, to do or, to have. Erinn, Erin, Erinnyes or Erinyes can be expected, when reading. However, modern usage has introduced the Proper noun Erinyes. Therefore, both Erinnyes and Erinyes can still be found to clarify a referral of the Proper noun Furies. The earliest use of Erinnyes as a Proper noun for the Furies, in ancient and classical texts, is, perhaps, during the beginning of the Byzantine period of the Mediterranean locale. Before this period, both 'Κήρες and 'Μοϊραι(ες) would be the expected Proper nouns used to described the conceptual categorization of the Furies. The Latins during the Byzantine period, it can be assumed, identified the 'Κήρες as a whole unit category, divided separately, which originally was a whole unit category divided into three, with one single administration, by the Ancient Greeks, is divided into two separately administrated groups, by the Latins: the 'Κήρες who take assertive action and are the Erinnyes ('Ερινύες(ων) - Furies) become a vindictive militia; the 'Κήρες who use considered thought and are the Fates ('Μοϊραι(ες) - Fates) become an allusive patrol of virtue; and, the 'Κήρες who are dead guardian benefactors, and are the (singing) Hesperides ('Σσείρήνες - Sirens/Siren-Hesperides of plight - των δεινών/'Δεινή) become lost in background allusions and are generally replaced by the actions and behaviour of the Furies. The three unified groups, of the Ancient Greeks, as one whole category of the 'Κήρες are portrayed to a greater extent, by the Latins, as two separate groups. Consequently, The identification of the Furies, the Fates and the 'singing Hesperides' is not as clearly defined for the Latins as is seen in the text's Ancient Greek origins, described by Hesiod. Apollodoros of Athens a Greek has a different index schedule, to both the Ancient Greeks and the Classical Latins, inasmuch, as that a third way is identified by the category schedule used in the Apollodoros' Library holdings.

^{1.2.^} Hesiod's 'Furies'^{[a]^} , Fates and (the) 'Hesperides': '...Κήρες: not Fates ('Μοϊραι), - ('Μοϊραι - Fatal; μοϊραί - fatal; μοϊραίες - fatality; 'Μοϊρες - Fates; 'Μοϊρα - Fate; μοϊρα - fate - destiny; πεπρωμένο - destiny - fate; προορισμός - destination) - nor precisely Furies ('Ερινύες) - ('Ερίνύες - Erinyes; the Furies - τόν(δ)' 'Ερινύων)^{[a]^} - though much nearer in character to the latter. They are in fact goddesses of death (not of destiny)...' (Paley (1883) Theogony (Hesiod) line: 249., p. 144). '...it was easy to mistake the Κήρες of death for the Κήρες of destiny...' (Paley (1883) Theogony (Hesiod) lines; 258-260., p. 145). '...the Fates are represented...Clotho...Lachesis...and Altropos...' (Paley (1883) Theogony (Hesiod) line: 258., p. 145).

^{1.3.^} '...slaughter of his...Vengeance for gallant comrades slain, (A)nd by the Cyclops made a prey; (A)nd how...' (Maginn (1850) Odyssey (Homer) lines: 06-07., pp. 195-197., Chap. 08., book Chap. 23., lines: 313-321). '...in front of him, crouched on the altar-steps, a grisly band (Æschylus' priestess, incorrectly views a temple scene, when approached for the first time) of women slumbers - not like women they (Oh? She thinks that she recognises them!) (B)ut Gorgons rather; nay, that word is weak, nor may I match the Gorgons' shape with theirs! Such have I seen in painted semblance erst (she has seen an image of the Gorgons before that day, in picture form) - Winged Harpies, snatching food ... But these are wingless, black, and all their shape (T)he eye's abomination (each eye, separately, can be seen) to behold. Fell (foul) in breath - let none draw nigh to it - ...they snort in slumber; from (each eye) their eye's ... damnèd drops of poisonous ire. And such their garb as none should dare to bring to statues (to compare) of the gods or homes of (other) men' (Morshead (1909) The Furies (Æschylus) lines: 08-22., p. 117).

^{1.4.^} 'In the Theaetetus Eucleides the Megarian repeats to his friend Terpsion a conversation between Socrates, the mathematician Theodorus, and the youth Theaetetus,...' (Fowler (1921) Theaetetus (Plato) lines: 01-04., p. 03). 'Terpsian: That is not at all strange; ... But why did he not stop here in Megara?' (Terpsion asks Eucleides a question about Theaetetus - Fowler (1965) Theaetetus (Plato) lines: 03-06., p. 09).

^{1.5.^} '...the daughters of Necessity, the Fates, clothed in white vestments, and having crowns on their heads; Lachesis, Clotho, and Atropos, singing to the harmony of the Sirens; Lachesis singing the past, Clotho singing the present, and Atropos the future' (Davis (1849) The Republic of Plato (Plato) Chap.14., Book 10., Lines: 04-08., p. 308). '...and that on each of its circles there was seated a Siren...' (Davis (1849) The Republic of Plato (Plato) Chap.14., Book 10., lines: 38-39., p. 307).

^{1.6.^} Example, 1: '...and she bore the destinies, the moirai, and the cruelly never-forgetful Fates(:), Klotho, Lachesis, and Atropos, who at birth bestow upon mortals their portion of good and evil, and these transgressions of both men and divinities, and these goddesses never remit their dreaded (dreaded) anger until whoever has done wrong gives them satisfaction' (Lattimore (1965) Theogony (Hesiod) lines: 215-225., p. 136). Example, 2: 'Also she bare (bore) the (D)estinies and ruthless avenging Fates, Clotho and Lachesis and Atropos: Clotho (the Spinner) is she who spins the thread of man's life; Lachesis (the Disposer of Lots) assigns to each man his destiny; Atropos (She who cannot be turned) is the "Fury (sic. (1920) furious/fury) with the abhorrèd shears"; who give men at their birth both evil and good to have, and they pursue the transgressions of men and of gods; and these goddesses never cease from their dread (dread) anger until they punish the sinner with a sore penalty' (Evelyn-White (1920) Theogony (Hesiod) lines: 19-25., p. 95).

^{1.7.^} '...when the Spirits had sated...Klotho and Lachesis stood over them,...and Atropos...' (Lattimore (1965) The Shield of Herakles (Hesiod) lines: 255-260., p. 206). (1965) The Sheild of Herakles (Hesiod) lines: 255-260 p. 206). 'Prometheus: "Not yet has fate that brings to fulfilment these things to be thus. I must be twisted by ten thousand pangs and agonies, as I now am, to escape my chains at last. Craft is far weaker than necessity. Chorus: Who then is the steersman of necessity? Prometheus: The triple-formed Fates and the remembering Furies. Chorus: Is Zeus weaker than these? Prometheus: Yes, for he, too, cannot escape what is fated. Chorus: What is fated for Zeus besides eternal sovereignty? Prometheus: Inquire of this no further,..."' (Grene (1959) Prometheus Bound (Æschylus) lines: 511-520., p. 329).

^{1.8.^} 'She brought forth also the Kyklopes (Cyclops), whose hearts are proud and powerful, Brontes and Steropes, and Agres of the violent spirit' (Lattimore (1965) Theogony (Hesiod) lines: 135-140., p. 131). 'Strength and force, and contriving skills, were in all their labor (labour)' - (Lattimore (1965) Theogony (Hesiod) lines: 145-150., p. 132).

^{1.9.^} 'But when Perseus had cut off the head of Medusa there sprang from her blood great Chryasaör and the horse Pegasos...' (Lattimore (1965) Theogony (Hesiod) lines: 280-285., pp. 139-140).

^{1.10.^} 'and the Hesperides, who across the fabulous stream of the Ocean keep the golden apples and the fruit-bearing orchards,...' (Lattimore (1965) Theogony (Hesiod) lines: 215-225., p. 136). '...by the singing Hesperides: they Sthenno, Euryale, and Medusa, whose fate (fate) was a sad one, for she was mortal, but the other two immortal and ageless both alike' (Lattimore (1965) Theogony (Hesiod) lines: 275-280., p. 139). '...and the Gorgons who dwell beyond glorious Ocean in the frontier land towards Night where are the clear-voiced Hesperides, Sthenno, and Euryale, and Medusa who suffered a woeful fate (fate): she was mortal, but the two were undying and grew not old' (Evelyn-White (1920) Theogony (Hesiod) lines: 26-29., p. 99).

^{1.11.^} Homer does not name the Furies, in any of his written works. They are characterized as a force of conscience: 'when thus had been said, the avenging (F)uries checked further speech' (Norgate (1884) The Iliad (Homer) Chap.19., Book 19., lines: 415-420., pp. 546-547). '(H)ighest and best of gods, now foremost Zeus '(B)e witness; (W)itness too be Earth, and Hêlios, '(A)nd the dread (dread) (F)uries, who beneath the Earth 'Chastise mankind, whoe'er shall swear false oath;...' (Norgate (1864) The Iliad (Homer) lines: 255-260., p. 540., Book T., Chap. XIX). 'her I obeyed '(A)nd did her bidding: whereupon my father, '(S)traight away suspecting, called down mant a curse, '(A)nd prayed the hateful (F)uries, how that never '(O)n his knees might a darling son be set,....'(B)oth by the Stygian Zeus beneath the Earth '(A)nd dread (dread) Persephoneia' (Norgate (1864) The Iliad (Homer) lines: 450-460., p. 243., Book I., Chap. IX).

^{1.12.^} '...in an instant, (T)hree hellish (F)uries (Hesiod's Hesperides), stained with blood, who (whom) had (T)he limbs and mein of women, were girt with greenst hydras: little snakes for hair, (A)nd serpents horned they had, with which were bound (T)heir savage temples' (Vincent (1904) The Divine Comedy (Dante) Canto.09., lines: 37-43., p.57). '...(D)id recognise the handmaids of the Queen of the eternal wailing,...."(S)ee the Erinnyes ('Ερινύες - Erinyes - 'Ερίνύες) fierce! Megaera (Megæra) is (O)n the left side: that is Alecto, who (I)s weeping on the right: Tisiphone (I)s 'txixt the two:" ....(E)ach one her breast was tearing with nails; (T)hey beat them with their palms, and cried so loud...."now let Medusa (the structure of this abstract staging, introduced by Dante - both Virgil and Homer do not mention Medusa. Hesiod is the first author, in the Theogony, to characterise her. Dante's is the first described portrayal to give Medusa her mythical overtones; beyond the general introduction, all but if leading in content, by Hesiod) come (the time cast, is at Sun-set)";....as they looked down:..."(B)ackwards turn (light is being lost, time is short), (A)nd keep thine eyes shut; for if shows herself (T)he Gorgon, and thou shoulds(')t upon her look, (R)eturning upward would be nevermore"' (Vincent (1904) The Divine Comedy (Dante) Canto.09., lines: 44-58., p.57).

^{1.13.^} 'In front, (H)uge gates, their posts of solid adamant, (T)hat mortal arm nor e'en celeshal might (C)an shatter, stand. An iron turret mounts (T)he air, and, there enthroned, Tisiphone, (G)irt in her bloody robe, guards day and night (W)ith sleepless vigilance the vestibule' (Long (1879) Æneid (Virgil) lines: 720-726., p. 192). 'Tisiphone, (W)ith scourge uplift, in vengeance revel(l)ing, (M)akes quake the guilty soul, her left hand thick (W)ith loathsome snakes, while her side she calls (T)he grim assemblage of her sister hags' (Long (1879) Æneid (Virgil) lines: 743-747., p. 193).

^{1.14.^} '...on vengeance bent From the grim (F)uries (Hesiod's Hesperides) home and shades of hell ...Alecto, mischief-hatcher, ...(W)hose happiness is in malignant strife, (I)n feuds and plots and all inhuman crimes. E'en father Pluto hates the monster, nay, (H)er hell hag sisters hate the sight of her, (S)o many a face she makes, so grim her look, (B)lack with so many snakes she spouts withal!' (Long (1879) Æneid (Virgil) lines: 406-414., p. 221). '...with the venom of the Gorgons, ...Alecto wends forthwith...' (Long (1879) Æneid (Virgil) lines: 428-429., p. 222). '...at this Alecto's anger flashes fire...so fixed with snakes (T)he (F)ury (of, Hesiod's Hesperides) hisses, and so terrible...from her hair she reared (T)win serpents, lashed her scourage, and spoke from lips (A)foam with wrath.... "from the abode (O)f the Dire Sisters(,) I (Alecto) am hither come. Battle and death I bear within my hand"' (Long (1879) Æneid (Virgil) lines: 526-572., p. 226).

^{1.15.^} 'Tis said there are two pests (C)alled Diræ, and that Midnight gave them birth - (T)hem and hell-hag Megæra (Megaera) all at once - (C)rowning them all ... with squirming snakes, (A)nd fitting them with buoyant wings' (Long (1879) Æneid (Virgil) lines: 1128-1132., p. 426). '...she shrinks...suddenly (I)nto the small figure of a bird, (S)uch as...sit on sepulchres (O)r lonely roofs and in darkness shrek (I)ts late and bonding notes' (Long (1879) Æneid (Virgil) lines: 1149-1153., p. 427).

^{1.16.^} 'And (N)ight bare (bore) hateful (D)oom and black (F)ate and (D)eath,...' (Evelyn-White (1920) Theogony (Hesiod) line: 13., p. 95). 'But (N)ight bore horrible Moros, and black Ker, (E)nd and (F)ate...' (Lattimore (1965) Theogony (Hesiod) lines: 210-215., pp. 135-136).

^{1.17.^} 'She bore the strong Erinyes and great Giants, shining in armour, holding long spears in their hands' (Caldwell (1987) Theogony (Hesiod/Apollodoros) lines: 85-86., p. 40). Hesiod's MS text, is a little different: ' She brought forth the powerful Furies and the tall Giants shining in their armour and holding long spears in their hands;...' (Lattimore (1965) Theogony (Hesiod) lines: 285-290., p. 134). ' (The) Erinyes, according to Apollodoros (The Apollodoros' Library Holdings, MS text) are, Alekto, Tisiphone and Megaira' (Caldwell (1987) Theogony (Hesiod/Apollodoros) line: 01., p. 40). 'Gaia,...persuaded the Titans to attack their father...Kronos cut off his...(limbs) and threw them into the sea; Alekto, Tisiphone, and Megaira (Megaera), the Erinyes ((Furies)), were born from the drops of flowing blood' (Caldwell (1987) Theogony (Hesiod/Apollodoros) lines: 11-16., p. 108).

Notes, line: 2.

^{2.1.^} Lost for Words, 'Κήρες': the translation, through a process of transliteration, of the appellation penelope(s); (the) 'penelope(s)', (a) violent, female, guard(s) of a mythical orchard grove, from near the orchard gate, watch(ing) the approach; a, 'Κήρες' // (key/appature/watch) Eng: army/guard :: pen:elop:e //; Κἠρες:// (key/hook/aperture):(Hebrew: אבא) Eng: pop (Greek: κλειδἰ):(Hebrew: ףךף) Eng: plp (Eng:[pen:elop:e]); Κήρες:// (key/aperture/watch) Eng: army (Hebrew: צבא) Eng: guard (Greek: φρουρὠ) Eng. watch (Greek: φρουρὀς); and, Κἡρες:// (guard/watch..):(Hebrew: בךטר) Eng: vindictive/vengeful. Eng: watch (Latin: vigilāt/vigilia). Eng: guard (Latin: vigil):(aperture/gate/portal):(Hebrew: בבא/ףתח). Eng: sentinel/warder/warden (Latin: excubitor).

^{2.2.^} Homer's Cyclop(s) is the son of Poseidon (Poseidon is also known as Briareos. Both names are used by Hesiod for the same person. Poseidon-Briareos, is one of a number of brothers, of Cronus and sons of Uranus) named in the texts by Homer as Polyphemus (Hesiod's Triton) and a Gorgon through, his mother Amphitrite's father, Phorkys (Maginn (1850) Odyssey (Homer) lines: 06-07., pp. 195-197); (Merry (1886) Odyssey (Homer) lines: 106-107., pp. 363-364); and (Lattimore (1965) Theogony (Hesiod) lines; 145-150., p. 132., and lines: 815-820., p. 172., and lines: 930-935., p. 180).

^{2.3.^} Some other possible Furies, by association, sourced from Hesiod's Theogony: '...three sons, big and powerful, so great they could not be told of(:), Kottos, Briareos, and Gyes, overmastering children. Each had a hundred intolerably strong arms...' (Lattimore (1965) Theogony (Hesiod) lines: 145-150., pp. 131-132). '...deep swirling Okeanos the ocean-stream; and, Koios, Krios, Hyperion, Iapetos ' (Lattimore (1965) Theogony (Hesiod) lines: 130-135., pp. 130-131). Also, before the serial introduction - taken from the narration of the text - of the Fates, it is possible, that: '..and Theia too, and Rheia and Themis and 'Mnemosyne', Phoibe of the Wreath of gold, and Tethys the lovely, were all thought and described, as being associated to the Furies rather than being thought as, being associated to, the Fates (Lattimore (1965) Theogony (Hesiod) lines:135-140., p. 131).

^{2.4.^} Some other possible Fates, by association, sourced from Hesiod's Theogony: 'Eurynome, (daughter of Okeanos) lovely in appearance, (bore to Zeus) the three Graces with fair cheeks; these are Aglaia and Euphrosyne and lovely Thalia and from the glancing of their lidded eyes bewildering' (Lattimore (1965) Theogony (Hesiod) lines: 905-915., p. 178). Also, '(Zeus of the councils)...loved 'Mnemosyne' of the splendid tresses, from who she bore to him the Muses with veils of gold, the nine whose pleasure is all delightfulness and the sweetness of singing' (Lattimore (1965) Theogony (Hesiod) lines: 910-920., p. 178). '...the Muses who have their homes on Olympos sang then, and thay are nine daughters (whose father is great Zeus: Kleio and Euterpe, Thaleia and Melpomene, Terpsichore and Erato, Polymnia and Ourania, with Kalliope' who of all holds the highest position' (Lattimore (1965) Theogony (Hesiod) lines: 75-80., p. 127).

^{2.5.^} '...in any case, men will remember public exhibition, the pillory, torture and pain observed. And, from the point of view of the law that imposes it, public torture and execution must be spectacular, it must be seen by all almost as its triumph. The very excess of the violence employed is one of the elements of its glory: the fact that the guilty man should moan and cry out under the blows is not a shameful side-effect, it is the very ceremonial of justice being expressed by force. Hence no doubt those tortures that take place even after death: corpses burnt, ashes thrown to the winds, bodies dragged on hurdles and exhibited at the roadside. Justice pursues the body beyond all possible pain' (Sheridan (1977) The Spectacle of the Scaffold (Foucault) lines: 24-34., p. 34).

^{2.6.^} '...in the authority and rôles of father, mother, teacher and possibly other publicly appointed figures. On theoretical grounds these variations can be expected to be of considerable importance, since the conscience (the conscious portion of the super-ego) would appear to be largely formed by the incorporation of some aspects of the dominant figure or figures of authority in childhood, so that most people approve and disapprove of themselves and others in the light of the standards they have introjected in their formative years. parents and parent surrogates demonstrate their authority by establishing rules of conduct which the child should follow, by punishing transgressions from these rules and (at least on Occasion) rewarding obedience' (Gorer (1955) Bending the Twig (Gorer) Chap. 11., lines: 15-27., p. 169).

^{2.7.^} 'He is vigorous, assertive, ambitious, self-assured, and yet his relations with others are in general productive and pleasant, for he has learned the value of inhibition and restraint and he attempts to use his oppositional tendencies adaptively' (Ames, (1971) Twelve Years (Ames) Chap. 12., lines: 18-21., p. 168). Similarly, some twothousand years earlier, this reference is taken from the transepts of a legal trial. The Court-trial is held, in-time, towards the end of the Roman Republic - after the birth of Christ. The orator, Cicero, is the lawyer who is defending the accused. The extract is part of his speech: '...do not believe, as you see it written in fables, that they who have done anything impiously and wickedly are really driven about and frightened by the furies with burning torches. It is his own dishonesty and the terrors of his own conscience that especially harassed each individual; his own evil thoughts, his own evil conscience terrifies him. These are to the wicked their incessant and domestic furies which night and day exact from wicked sons punishment for the crimes committed...' (Yonge (1856) The Oration for Sextus Roscius of Ameria (Cicero) Chap. 24., lines: 33-41/01-02., pp. 57-58).

^{2.8.^} Virgil is the guide, in Dante's The Divine Comedy. Taken from the monologue, of Collins' account of Vigil's Æneid: 'But the Sibyl warns her companion, who stands absorbed in grief at his comrade's fate, that the permitted hours of their visit are fast passing away. She guides him on to where the path they are treading divides, leading in one direction to the Elysian Fields, in the other to Tartarus...' (Collins (1877) Æneid (Virgil) lines: 24-28., p. 118).

^{2.9.^} Homer is the first, of the early Greek authors, to characterise the noun Siren in textural form. The development of the use, of the noun, between authors can be seen by its pluralization, to that of Sirens, and to the parody of the verb tempt. These female protagonists are singular in their behaviour to their social environment as are the other gods, goddesses, heroes and demons of the Greek Pantheon. The parody of events, situations and consequences in the narrative texts, by the use of the concept tempt as a verb and contrastingly temptation as a noun is the point at which the Greek and Latin authors separate stylistically. Satyr (satire) Erinyes (erinnic) and Eumenides (irony) - euphemisticly - correspond to a Latinized Grecian (Graeco) exchange of similar conceptual representations. The Christian Bible, provides some good examples of the exchange of these and similar such abstract concepts, across and through the translations of centuries, taken from the Hebrew, Latin and English versions of the Bible. Siren is found here also, in use, as an indication of evil behaviour. From the Hebrew version of the Bible, through to the Latin Version of the Bible, through to the English version of the Bible of the contextual use, of the word Siren, each version compares, similarly, to that of earliest Grecian, contextual use, of Homer (Satyr can be found, also, as the masculine form). Furthuremore, the transliteration of irony of fate produces the reference: eironeia tis týchis (Irony of fate - Grk: ειρωνεία της τύχης - eironeia tis týchis - Irony of fate). Referentially, tis týchis ('of fate') has a very similar tonal value and written representation (in Greek) to that of the name of Virgil's^{[1.1a]^} fury, Tisiphone. Similarly, the transliteration of ironic produces the reference: eironikos (ironic - Grk: ειρωνικός - eironikόs - ironic); and, the transliteration of irony produces the reference: eironeia (irony - Grk: ειρωνεία - eironeia - irony). Both, ironic and irony have a similar tonal value and written representation, in English (when read from Greek) to that of Eumenides (Eumenides - Grk: 'Ευμενίδες - Evmenides - Eumenides) the name of the Greek tragedy play, about the Furies, by Æschylus (Plumptre (1906) Eumenides (Æschylus) p. 219).

Bibliography

^01. Bloom, Harold (1962) Paradise Lost, Paradise Regained, Samson Agonistes, John Milton, with an Introduction by Harold Bloom, Collier Books, New York, Collier-Macmillan Ltd. London., [107].

^02. Rockwood, Camilla (2009) Brewer's Dictionary of Phrase and Fable 18th edition, Brewer's - Chambers Harrap Publishers Ltd., ISBN 978-0550-104-113. Furies (Ltn: Furea) for the purpose of the above article, the entry in Brewer's Dictionary, at this point of reference, is not considered to be correct (for, Hesiod//see, Virgil) Furies.

References

A-Z of references

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^02. Bible, The Hebrew, Book of Isaiah, According to the Masoretic Text and the JPS Edition, Chap.13., Verses: 20-22., יְשַׁצְיׇהוּ., [109].

^03. Bible, The Latin Vulgate, Old Testament, Isaias., Book of Isaiah, Chap.13., Verses: 20-22., [110].

^04. Bible, The Wycliffe, Book of Isaiah, Chap.13., Verses: 20-22., [111].

^05. Bloom, Harold (1962) Paradise Lost, Paradise Regained, Samson Agonistes, John Milton, with an Introduction by Harold Bloom, Collier Books, New York, Collier-Macmillan Ltd. London., [112].

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^10. Evelyn-White, Hugh G. (1920) Hesiod, The Homeric Hymns and Homerica, with an English translation, by Hugh G. Evelyn-White, London: William Heinemann, New York: G P. Putnam's Sons, MCMXX., [117].

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^20. Morris, Richard (1891) The Poetical Works of Geoffrey Chaucer, edited by Richard Morris, In Six Volumes, Vol.II., London, George Hill and Sons, Covent Garden., [126].

^21. Morris, Richard (1891) The Poetical Works of Geoffrey Chaucer, edited by Richard Morris, In Six Volumes, Vol.V., London, George Hill and Sons, Covent Garden., [127].

^22. Morshead, E D A. (1909) Nine Greek Dramas by Æschylus, Sophocles, Euripides and Aristophanes, translations by E D A. Morshead, E H. Plumptre, Gilbert Murray, and B B. Rogers, P F. Collier & Sons, New York, edited by W. Eliot., [128].

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^32. Sheridan, Alan (1995) Michel Foucault, Discipline and Punish: The Birth of the Prison, Translated from the French by Alan Sheridan, Vintage Books, A division of Random House Inc., New York, Second Vintage Book Edition, May 1995, Translation copyright 1977, ISBN 0-679-75255-2.

^33. Yonge, C. D. (1856) The Orations of Marcus Tullius Cicero, Literally translated by C. D. Yonge, Vol.I., containing: Orations for Quintius, Sextus Roscius, Against Quintus Cæcilius, and Against Verres, London, Henry G. Bohn, York Street, Covent Garden., [137].

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