Selene

In Greek mythology, Selene (/sɪˈliːniː/; Ancient Greek: Σελήνη, romanized: Selḗnē, lit. '"Moon"', Greek pronunciation: [selɛ̌ːnɛː]) is the goddess of the Moon. She is the daughter of the Titans Hyperion and Theia, and sister of the sun god Helios and the dawn goddess Eos. She drives her moon chariot across the heavens. Several lovers are attributed to her in various myths, including Zeus, Pan, and the mortal Endymion. In post-classical times, Selene was often identified with Artemis, much as her brother, Helios, was identified with Apollo.[2] Selene and Artemis were also associated with Hecate and all three were regarded as moon and lunar goddesses, but only Selene was regarded as the personification of the Moon itself. Her Roman equivalent is Luna.[3]

This article is about the Greek goddess. For other uses, see Selene (disambiguation).
Selene
Personification of the Moon
Detail of Selene from a Roman sarcophagus
AbodeSky
PlanetMoon[1]
SymbolCrescent, chariot, torch, billowing cloak, bull
DayMonday (hēméra Selḗnēs)
Personal information
ParentsHyperion and Theia, or Pallas, the son of Megamedes or Helios.
SiblingsHelios and Eos
ConsortEndymion
ChildrenFifty daughters to Endymion; Pandia and Ersa to Zeus; four Horae to Helios; Musaeus
Roman equivalentLuna

Names
Detail of a sarcophagus depicting Endymion and Selene, shown with her characteristic attributes of lunate crown and billowing veil (velificatio)[4]
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The name "Selene" is connected to the Greek noun selas (σέλας), meaning "light, brightness, gleam".[5]

Selene was also called Mene.[6] The Greek word men (feminine mene), meant the moon, and the lunar month.[7] It was also the name of the Phrygian moon-god Men.[8] The Greek Stoic philosopher Chrysippus interpreted Selene and Men as, respectively, the female and male aspects of the same god.[9]

Just as Helios, from his identification with Apollo, is called Phoebus ("bright"), Selene, from her identification with Artemis, is also called Phoebe (feminine form).[10] The original Phoebe of Greek mythology is Selene's aunt, the Titan mother of Leto and Asteria, and grandmother of Apollo, Artemis, and Hecate. Also from Artemis, Selene was sometimes called "Cynthia".[11]

Family

The usual account of Selene's origin is given by Hesiod in his Theogony, where the sun-god Hyperion espoused his sister Theia, who gave birth to "great Helios and clear Selene and Eos who shines upon all that are on earth and upon the deathless Gods who live in the wide heaven".[12] The Hymn to Helios follows this tradition: "Hyperion wedded glorious Euryphaëssa, his own sister, who bare him lovely children, rosy-armed Eos and rich-tressed Selene and tireless Helios",[13] with Euryphaëssa ("widely-shining") probably being an epithet of Theia.[14]

Other accounts give other parents for Selene. The Hymn to Hermes has Selene as the daughter of Pallas, the son of Megamedes (possibly identified with Titan Pallas),[15] Euripides has Selene as the daughter of Helios (rather than sister).[16] while an Aeschylus fragment possibly has Selene as the daughter of Leto.[17]

According to the Hymn to Selene, the goddess bore Zeus a daughter, Pandia ("All-brightness"),[18] "exceeding lovely amongst the deathless gods".[19] The 7th century BC Greek poet Alcman makes Ersa ("Dew") the daughter of Selene and Zeus.[20] Selene and Zeus were also said to be the parents of Nemea, the eponymous nymph of Nemea, where Heracles slew the Nemean Lion, and where the Nemean Games were held.[21]

From Pausanias we hear that Selene was supposed to have had by Endymion fifty daughters, who possibly represented the fifty lunar months of the Olympiad.[22] Nonnus has Selene and Endymion as the parents of the beautiful Narcissus,[23] but in other accounts, including Ovid's Metamorphoses, Narcissus was the son of Cephissus and Liriope.[24]

Quintus Smyrnaeus makes Selene, with her brother Helios, the parents of the Horae, goddesses and personifications of the four seasons; Winter, Spring, Summer, and Autumn.[25] Smyrnaeus describes them as the four handmaidens of Hera, but in most other accounts their number is three; Eirene ("peace"), Eunomia ("order"), and Dike ("justice"), and their parents are Zeus and Themis instead.

Lastly, Selene was said to be the mother (by the legendary seer Eumolpus[26] according to Philochorus) of the legendary Greek poet Musaeus.[27]

Mythology

Endymion
Selene and Endymion, by Sebastiano Ricci (1713), Chiswick House, England

Selene is best known for her affair with the beautiful mortal Endymion.[28] The late 7th-century – early 6th-century BC poet Sappho apparently mentioned Selene and Endymion.[29] However, the first account of the story comes from the third-century BC Argonautica of Apollonius of Rhodes, which tells of Selene's "mad passion" and her visiting the "fair Endymion" in a cave on Mount Latmus:[30]

And the Titanian goddess, the moon, rising from a far land, beheld her [Medea] as she fled distraught, and fiercely exulted over her, and thus spake to her own heart:

"Not I alone then stray to the Latmian cave, nor do I alone burn with love for fair Endymion; oft times with thoughts of love have I been driven away by thy crafty spells, in order that in the darkness of night thou mightest work thy sorcery at ease, even the deeds dear to thee. And now thou thyself too hast part in a like mad passion; and some god of affliction has given thee Jason to be thy grievous woe. Well, go on, and steel thy heart, wise though thou be, to take up thy burden of pain, fraught with many sighs."[31]

The eternally sleeping Endymion was proverbial,[32] but exactly how this eternal sleep came about and what role, if any, Selene may have had in it is unclear. According to the Catalogue of Women, Endymion was the son of Aethlius (a son of Zeus), and Zeus granted him the right to choose when he would die.[33] A scholiast on Apollonius says that, according to Epimenides, Endymion fell in love with Hera, and Zeus punished him with eternal sleep.[34] However, Apollodorus says that because of Endymion's "surpassing beauty, the Moon fell in love with him, and Zeus allowed him to choose what he would, and he chose to sleep for ever, remaining deathless and ageless".[35] Theocritus portrays Endymion's sleep as enviable because (presumably) of Selene's love for him.[36] Cicero seems to make Selene responsible for Endymion's sleep, so that "she might kiss him while sleeping".[37] The Roman playwright Seneca, has Selene abandoned the night sky for Endymion's sake having entrusted her "shining" moon chariot to her brother Helios to drive.[38] The Greek satirist Lucian's dialogue between Selene and the love goddess Aphrodite has the two goddesses commiserate about their love affairs with Endymion and Adonis, and suggests that Selene has fallen in love with Endymion while watching him sleep each night.[39] In his dialogue between Aphrodite and Eros, Lucian also has Aphrodite admonish her son Eros for bringing Selene "down from the sky".[40] While Quintus Smyrnaeus' wrote that, while Endymion slept in his cave beside his cattle, "Selene watched him from on high, and slid from heaven to earth; for passionate love drew down the immortal stainless Queen of Night."[41]

Lucian also records an otherwise unattested myth where a pretty young girl called Muia becomes Selene's rival for Endymion's affections; the chatty maiden would endlessly talk to him while he slept, causing him to wake up. This irritated Endymion, and enraged Selene, who transforms the girl into a fly (Ancient Greek: μυῖα, romanized: muía). In memory of the beautiful Endymion, the fly still grudges all sleepers their rest and annoys them.[42]

Philologist Max Müller's interpretation of solar mythology as it related to Selene and Endymion concluded that the myth was a narrativized version of linguistic terminology. Because the Greek endyein meant "to dive," the name Endymion ("Diver") at first simply described the process of the setting sun "diving" into the sea. In this case, the story of Selene embracing Endymion, or Moon embraces Diver, refers to the sun setting and the moon rising.[43]

Gigantomachy
Selene riding horseback, detail of the Gigantomachy frieze, Pergamon Altar, Pergamon museum, Berlin

Gaia, angered about her children the Titans being thrown into Tartarus following their defeat, brought forth the Giants, to attack the gods, in a war that was called the Gigantomachy. When Gaia heard of a prophecy that a mortal would help the gods to defeat the giants, she sought to find a herb that would make them undefeatable. Zeus heard of that, and ordered Selene as well as her siblings Helios (Sun) and Eos (Dawn) not to shine, and harvested all of that plant for himself.[44]

Fight with Typhon

According to the late account of Nonnus, when the gigantic monster Typhon laid siege against the heavens, he attacked Selene as well by hurling bulls at her, though she managed to stay in her course, and rushed at her hissing like a viper. Selene fought back the giant, locking horns with Typhon; afterwards, she carried many scars on her orb, reminiscent of their battle.[45]

Ampelus

Ampelus was a very beautiful satyr youth, loved by the god Dionysus.[46] One day, in Nonnus' account, Ampelus rode on a bull, and proceeded to compare himself to Selene, saying that he was her equal, having horns and riding bulls just like her. The goddess took offense, and sent a gadfly to sting Ampelus' bull. The bull panicked, threw Ampelus and gored him to death.[47]

The Nemean Lion
Roman-era bronze statuette of Selene velificans or Nyx (Getty Villa).

Whereas for Hesiod, the Nemean Lion was born to Orthrus and the Chimera (or perhaps Echidna) and raised by Hera,[48] other accounts have Selene involved in some way in its birth or rearing.[49] Aelian states: "They say that the Lion of Nemea fell from the moon", and quotes Epimenides as saying:[50]

For I am sprung from fair-tressed Selene the Moon, who in a fearful shudder shook off the savage lion in Nemea, and brought him forth at the bidding of Queen Hera.[51]

Anaxagoras also reports that the Nemean lion was said to have fallen from the moon.[52] Pseudo-Plutarch's On Rivers has Hera collaborating with Selene, "employing magical incantations" to create the Nemean Lion from a chest filled with foam.[53] Hyginus says that Selene had "nourished" the lion in a "two-mouthed cave".[54]

Pan

According to Virgil, Selene also had a tryst with the god Pan, who seduced her with a "snowy bribe of wool".[55] Scholia on Virgil add the story, ascribed to Nicander, that as part of the seduction, Pan wrapped himself in a sheepskin.[56]

Other accounts

Diodorus Siculus recorded an unorthodox version of the myth, in which Basileia, who had succeeded her father Uranus to his royal thrown, married her brother Hyperion, and had two children, a son Helios and a daughter Selene, "admired for both their beauty and their chastity". Because Basileia's other brothers envied these offspring, and feared that Hyperion would try to seize power for himself, conspired against him; they put Hyperion to the sword and drowned Helios in the river Eridanus. Selene herself, upon discovering this, took her own life. After these deaths, her brother appeared in a dream to their grieving mother and assured her that he and his sister would now transform into divine natures; and:[57]

that which had formerly been called the "holy fire" in the heavens would be called by men Helius ("the sun") and that addressed as "menê" would be called Selenê ("the moon").[58]

Plutarch recorded a fable-like story (sometimes categorized as an Aesop's fable) where Selene asked her mother to weave her a garment to fit her measure, and her mother replied that she was unable to do so, as she kept changing shape and size, sometimes full, then crescent-shaped and others yet half her size.[59]

In Lucian's, Icaromenippus, Selene complains to the titular Menippus of all the outrageous claims philosophers are making about her, such as wondering why she is ever waxing or gibbous, whether she is populated or not, and stating that she is getting her stolen light from the Sun, causing strife and ill feelings between her and her brother. She asks Menippus to report her grievances to Zeus, with the request that Zeus wipes all these natural philosophers from the face of the earth.[60] Zeus agrees, urged by Selene's complaints and having long intended to deal with the philosophers himself.[61]

Claudian wrote that in her infancy, when her horns had not yet grown, Selene (along with Helios – their sister Eos is not mentioned with them) was nursed by her aunt, the water goddess Tethys.[62]

Moon chariot
Statue of Selene, shown wearing the crescent on her forehead and holding a torch in her right hand, while her veil billows over her head

Like her brother Helios, the Sun god, who drives his sun chariot across the sky each day, Selene is also said to drive a chariot across the heavens.[63] There are no mentions of Selene's chariot in either Homer or Hesiod, but the Hymn to Selene, gives the following description:[64]

The air, unlit before, glows with the light of her golden crown, and her rays beam clear, whensoever bright Selene having bathed her lovely body in the waters of Ocean, and donned her far-gleaming raiment, and yoked her strong-necked, shining team, drives on her long-maned horses at full speed, at eventime in the mid-month: then her great orbit is full and then her beams shine brightest as she increases. So she is a sure token and a sign to mortal men.[65]

The earliest known depiction of Selene driving a chariot adorns the inside of an early 5th century BC red-figure cup attributed to the Brygos Painter, showing Selene plunging her chariot, drawn by two winged horses, into the sea.[66] The geographer Pausanias, reports seeing a relief of Selene driving a single horse, as it seemed to him, or as some said, a mule, on the pedestal of the Statue of Zeus at Olympia (c. 435 BC).[67] While the sun chariot has four horses, Selene's usually has two,[68] described as "snow-white" by Ovid.[69] In some cases the chariot was drawn by oxen or bulls.[70] Though the moon chariot is often described as being silver,[71] for Pindar it was golden.[72]

Descriptions

Surviving descriptions of Selene's physical appearance and character, apart from those which would apply to the moon itself, are scant. Three early sources mention Selene's hair. Both the Hymn to Helios and the Hymn to Selene use the word εὐπλόκαμος, variously translated as "rich", "bright", or "beautiful haired", and Epimenides uses the epithet "lovely-haired".[73] The Hymn to Selene describes the goddess as very beautiful, with long wings and a golden diadem, calling her "white-armed" and "benevolent".[74] Aeschylus calls Selene "the eye of night".[75]

In late accounts, she is often described as having horns.[76] The Orphic Hymn to Selene addresses her as "O bull-horned Moon", and further describes her as "torch-bearing, ... feminine and masculine, ... lover of horses," and grantor of "fulfillment and favor".[77] Empedocles, Euripides and Nonnus all describe her as γλαυκῶπις (glaukṓpis, "bright, grey-eyed", a common epithet of the goddess Athena)[78][79] while she is κυανῶπις (kyanṓpis, "dark-eyed") according to Pamprepius.[80] Mesomedes of Crete calls her γλαυκὰ (glaukà, "silvery grey").[81]

Iconography
Endymion as hunter (with dog), sitting on rocks in a landscape, holding 2 spears, looking at Selene who descends to him. Antique fresco from Pompeii.

In antiquity, artistic representations of Selene included sculptural reliefs, vase paintings, coins, and gems.[82] In red-figure pottery before the early 5th century BC, she is depicted only as a bust, or in profile against a lunar disk.[83] In later art, like other celestial divinities such as Helios, Eos, and Nyx ("night"), Selene rides across the heavens. She is usually portrayed either driving a chariot or riding sidesaddle on horseback[84] (sometimes riding an ox, a mule or a ram).[85]

Paired with her brother Helios, Selene adorned the east pediment of the Parthenon, where the two framed a scene depicting the birth of Athena, with Helios driving his chariot rising from the ocean on the left, and Selene and her chariot descending into the sea on the right.[86] From Pausanias, we learn that Selene and Helios also framed the birth of Aphrodite on the base of the Statue of Zeus at Olympia.[87] There are indications of a similar framing by Selene and Helios of the birth of Pandora on the base of the Athena Parthenos.[88] Pausanias also reports seeing stone images of Helios, and Selene, in the market-place at Elea, with rays projecting from the head of Helios, and horns from the head of Selene.[89] Selene also appears on horseback as part of the Gigantomachy frieze of the Pergamon Altar.[90]

Selene is commonly depicted with a crescent moon, often accompanied by stars; sometimes, instead of a crescent, a lunar disc is used.[91] Often a crescent moon rests on her brow, or the cusps of a crescent moon protrude, horn-like, from her head, or from behind her head or shoulders.[92] Selene's head is sometimes surrounded by a nimbus, and from the Hellenistic period onwards, she is sometimes pictured with a torch.[93]

In later second and third century AD Roman funerary art, the love of Selene for Endymion and his eternal sleep was a popular subject for artists.[94] As frequently depicted on Roman sarcophagi, Selene, holding a billowing veil forming a crescent over her head, descends from her chariot to join her lover, who slumbers at her feet.[95]

Cult
Selene from an altar piece, flanked by either the Dioscuri, or by Phosphorus and Hesperus.[96]

Moon figures are found on Cretan rings and gems (perhaps indicating a Minoan moon cult), but apart from the role played by the moon itself in magic, folklore, and poetry, and despite the later worship of the Phrygian moon-god Men, there was relatively little worship of Selene.[97] An oracular sanctuary existed near Thalamai in Laconia. Described by Pausanias, it contained statues of Pasiphaë and Helios. Here Pasiphaë is used as an epithet of Selene, instead of referring to the daughter of Helios and wife of Minos.[98] Pausanias also described seeing two stone images in the market-place of Elis, one of the sun and the other of the moon, from the heads of which projected the rays of the sun and the horns of the crescent moon.[99]

Originally, Pandia may have been an epithet of Selene,[100] but by at least the time of the late Hymn to Selene, Pandia had become a daughter of Zeus and Selene. Pandia (or Pandia Selene) may have personified the full moon,[101] and an Athenian festival, called the Pandia, usually considered to be a festival for Zeus,[102] was perhaps celebrated on the full moon and may have been associated with Selene.[103]

Selene was sometimes associated with childbirth, for it was believed that during the full moon women had the easiest labours; this helped in her identification with the goddess Artemis,[104] as well as other goddesses connected to women's labours. The idea that Selene would also give easy labours to women paved way for identification with Hera and the Roman Juno and Lucina, three other childbirth goddesses; Plutarch calls Selene "Hera in material form."[105] Roman philosopher Cicero connected Selene's Roman counterpart Luna's name to childbirth goddess Lucina's, both deriving from "light" (thus bringing the unborn child into the light).[106] Nonnus of Panopolis also identified Selene with Eileithyia.[107]

Selene played an important role in love magic.[108] In Theocritus's second Idyll, a young girl invokes Selene in a love-spell.[109] And, according to a scholium on Theocritus, Pindar wrote that lovesick women would pray to Selene for help, as Euripides apparently had Phaedra[110] do in his lost play Hippolytus Veiled.[111]

The ancient Greeks called Monday "day of the Moon" (ἡμέρα Σελήνης) after her.[112]

Orphic literature

According to a certain Epigenes,[113] the three Moirai, or Fates, were regarded in the Orphic tradition as representing the three divisions of Selene, "the thirtieth and the fifteenth and the first" (i.e. the crescent moon, full moon, and dark moon, as delinted by the divisions of the calendar month).[114]

Namesakes

Genealogy
Selene's family tree[116]
UranusGaiaPontus
OceanusTethysHyperionTheiaCriusEurybia
The RiversThe OceanidsHeliosSELENE[117]EosAstraeusPallasPerses
CronusRheaCoeusPhoebe
HestiaHeraPoseidonZeusLetoAsteria
DemeterHadesApolloArtemisHecate
IapetusClymene (or Asia)[118]Themis(Zeus)Mnemosyne
Atlas[119]MenoetiusPrometheus[120]EpimetheusThe HoraeThe Muses

See also

Notes
  1. Evans, James (1998). The History and Practice of Ancient Astronomy. Oxford University Press. pp. 296–7. ISBN 978-0-19-509539-5. Retrieved 2008-02-04.
  2. Hard, p. 46; Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Morford, pp. 64, 219–220; Smith, s.v. Selene.
  3. Smith, s.v. Selene; Kerényi, pp. 196–197; Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Hard, p. 46; Morford, pp. 64, 219–221.
  4. Stefania Sorrenti, "Les représentations figurées de Jupiter Dolichénien à Rome," in La terra sigillata tardo-italica decorata del Museo nazionale romano, "L'Erma" di Bretschneider, 1999), p. 370.
  5. Athanaassakis and Wolkow, p. 90, on lines 1–2; Kerényi, pp. 196–197; Keightley, p. 56.
  6. Hard, p. 46; Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Smith, s.v. Selene.
  7. Kerényi, p. 197; Athanaassakis and Wolkow, pp. 90, on lines 1–2, 91, on line 5. Athanaassakis and Wolkow speculate that Selene's name "might have developed as a euphemism for the moon proper (Greek "mēnē")" .
  8. Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Kerényi, p. 197.
  9. Obbink 2002, p. 200.
  10. Morford, p. 64; Smith, s.v. Selene.
  11. Pannen, p. 96. For example see Ovid, Heroides 18.59–74.
  12. Hard, p. 43; Hesiod, Theogony 371–374. See also Apollodorus 1.2.2, Hyginus, Fabulae Preface 12.
  13. Hard, p. 46; Hymn to Helios (31) 4–7. Assuming that their order of mention is meant to be their order of birth, Hesiod and Hyginus (Fabulae Preface 12) make Helios the oldest of the siblings, with Eos the youngest, while the Hymn swaps the order of Eos and Helios, and Apollodorus (1.2.2) has Selene as the youngest, with Eos as the oldest.
  14. Morford, p. 61; West 2003, p. 215 n. 61.
  15. Hard, p. 46; Gantz, p. 34; Vergados, p. 313; Hymn to Hermes (4), 99–100.
  16. Hard, p. 46; Euripides, The Phoenician Women 175 ff. (with scholia); see also Nonnus, Dionysiaca 44.191; Scholia to Aratus 445. Hard notes the appropriateness of Selene being the daughter of Helios "in the view of her borrowed light".
  17. Hard, p. 46, Gantz, pp. 34–35; Aeschylus fr. 170 Sommerstein [= fr. 170 Radt, Nauck].
  18. Fairbanks, p. 162.
  19. Hard, p. 46; Gantz, p. 34; Hymn to Selene (32) 15–16; so also Hyginus, Fabulae Preface 28. Allen, [15] "ΠανδείηΝ", says that Pandia, "elsewhere unknown as a daughter of Selene ... seems to be merely an abstraction of the moon herself". Cook p. 732 says that it seems probable that, instead of being her daughter, "Pandia was originally an epithet of Selene". Either Selene or her daughter may have been connected to the Athenian festival Pandia.
  20. Hard, p. 46; ní Mheallaigh, p. 26; Keightley, p. 55; Alcman fr. 57 Campbell [= Plutarch, Moralia, 659 B = fr. 48 Bergk = fr. 43 Diehl] (see also Plutarch, Moralia 918 A, 940 A). According to Hard, "this is really no more than an allegorical fancy referring to the heavy dew-fall associated with clear moonlit nights".
  21. Cook, p. 456; Smith, s.v. Selene; Pausanias, 2.15.3 has Asopus as the father of Nemea.
  22. Pausanias, 5.1.4; Cashford 2003b, p. 137; Mayerson p. 167; Davidson, pp. 204–205; Seyffert, "Endymion" p. 213; There are other accounts of fifty daughters in Greek mythology, the Nereids were fifty sea nymphs born to Nereus and Doris (Hesiod, Theogony 240–264), and Thespius had fifty daughters, each of whom bore a son to Heracles (Apollodorus, 2.4.10, 2.7.8).
  23. Nonnus, Dionysiaca 48.581 ff.
  24. Ovid, Metamorphoses 3.342.
  25. Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Quintus Smyrnaeus, The Fall of Troy 10.336–340, pp. 442–443. Compare with Nonnus, Dionysiaca 12.1–2, which has the Horae as the daughters of Helios, without mentioning a mother.
  26. Scholia on Aristophanes' Ranae 1033
  27. Plato, Republic 2.364e; Obbink 2011, p. 353; Burkert 1972, p. 346 n. 48; see Smith, s.v. Musaeus (literary 1), for Eumolpus as father.
  28. Hard, pp. 46, 411; Athanaassakis and Wolkow, p. 89; Gantz, p. 34. The story was especially popular with Hellenistic and Roman poets, for which Fowler, p. 134, describes the theme as "irresistible", e.g. Catullus, 66.5–6; Palatine Anthology, 5.123, 5.165, 6.58; Propertius, Elegies 2.15.15–16; Ovid, Amores 11.13.43–44, Ars Amatoria 3.83, Heroides 15.89–90, 18.59–74; Seneca, Medea 93–101, Phaedra 309–316, 406–422, 785–794; Valerius Flaccus, Argonautica 8.28–30.
  29. Fowler 2013, p. 133; Gantz, p. 35; Sappho fr. 199 Campbell [= Scholia on Apollonius of Rhodes Argonautica 4.57].
  30. Gantz, p. 35.
  31. Apollonius of Rhodes, Argonautica 4.54–65.
  32. Fowler 2013, pp. 133–134; Frazer's note to Apollodorus, 1.7.5; e.g. Plato, Phaedo, 72c; Aristotle, Nicomachean Ethics 10.8.7.
  33. Gantz, p. 35; Fowler 2013, p. 134; Hard, p. 411; Hesiod fr. 10.58–62 Most [= fr. 10a.58–62 Merkelbach-West].
  34. Fowler 2013, p. 134; Hard, p. 411; Gantz, p. 35; Scholia on Apollonius of Rhodes’ Argonautica 4.57–58 [= Epimenides, fr. 14 = Epimenides fr. 12 Fowler = FGrHist 457 F10 = 3B14 Diels]. The same scholiast gives another story involving Endymion's love for Hera, this time attributed to the Great Ehoiai, saying that "Endymion was carried up by Zeus to heaven, but that he was seized by desire for Hera and was deceived by the phantom of a cloud, and that because of this desire he was thrown out and went down to Hades", see Hesiod fr. 198 Most [= fr. 260 Merkelbach-West = Scholia on Apollonius of Rhodes’ Argonautica 4.58]; see also Acusilaus fr. 36 Fowler.
  35. Apollodorus, 1.7.5 [= Zenobius 3.76].
  36. Gantz, p. 35; Theocritus, 3.49–50. See also Theocritus, 20.37–39.
  37. Hard, p. 411; Cicero, Tusculan Disputations 1.38.92, p. 50. See also Ovid, Amores, 11.13.43–44: "Look, how many hours of slumber has Luna bestowed upon the youth she loves! [Endymion]"; Gantz, p. 35, discussing Selene's role, says that "no source claims that the sleep was her idea, and likely enough (given its role in some quarters as a punishment, and his love for Hera), she was not always a part of the story." Gantz also notes that "Vases and artifacts from the second half of the fifth century on may possibly show Selene leaving an awake Endymion."
  38. Seneca, Phaedra, 309–316.
  39. Gantz, p. 35; Lucian, Dialogues of the Gods 19 (11).
  40. Lucian, Dialogues of the Gods 20 (12).
  41. Quintus Smyrnaeus, The Fall of Troy 10.125 ff., pp. 428–429.
  42. Lucian, The Fly 10.
  43. Powell, Barry B. (1995). Classical Myth. Englewood Cliffs, N.J: Prentice Hall. pp. 677–678.
  44. Apollodorus, 1.6.1.
  45. Nonnus, Dionysiaca 1.213–223.
  46. Ovid, Fasti 3.409–410.
  47. Nonnus, Dionysiaca 11.167–223.
  48. Hard, p. 63; Hesiod, Theogony 327
  49. Cook, pp. 456–457; Hard, p. 256.
  50. Cook, p. 456; Gantz, p. 25; Burkert 1972, p. 346 n. 48; West 1983, pp. 47–48.
  51. Aelian, On Animals 12.7 [= Epimenides fr. 3B2 Diels = fr. 2 Freeman (Online version at Demonax | Hellenic Library].
  52. Anaxagoras, fr. A77 Curd [= Scholia on Apollonius of Rhodes 1.498]. See also Plutarch, Moralia 677 A [= Euphorion fr. 107 Lightfoot = fr. 84 Powell] (Nemean Lion called "Menê’s fierce-eyed son"). For other accounts see Cook, p. 457 notes 2 and 3.
  53. Pseudo-Plutarch, On Rivers 18.4; Cook, p. 457 n. 3.
  54. Hyginus, Fabulae 30; Cook, p. 456.
  55. Virgil, Georgics 3.391–393.
  56. Hard, p. 46; Gantz, p. 36; Kerényi, pp. 175, 196; Grimal, s.v. Selene, p. 415; Servius, Commentary on the Georgics of Vergil 3.391. Hard describes this "tale" as "interesting but poorly attested", and says that the "rusticity of the tale suggests that it may have originated as a local legend in Arcadia."
  57. Caldwell, p. 40, on lines 207–210; Diodorus Siculus, 3.57.
  58. Diodorus Siculus, 3.57.5.
  59. Plutarch, Septem Sapientium Convivium 14.1.
  60. Lucian, Icaromenippus 20–21.
  61. Lucian, Icaromenippus 29-33
  62. Claudian, Rape of Persephone Book II.
  63. Hard, p. 46; Keightley; p. 54; Pindar, Olympian 3.19–20; Euripides, The Suppliant Women, 990–991; Theocritus, 2.163–166; Ovid, Fasti 4.373–374, 3.109–110, Metamorphoses 2.208 ff.; Valerius Flaccus, Argonautica 5.410–415; Statius, Thebaid 1.336–341.
  64. Keightley, p. 54.
  65. Hymn to Selene (32) 5–14.
  66. Cohen, pp. 156–157, 177–179; Savignoni, pp. 267–268. For Selene driving another pair of winged horses see Zschietzschmann, p. XII, p. 23.
  67. Keightley, p. 54; Pausanias, 5.11.8.
  68. Morford, p. 63; Kerényi, p. 196. For an example of Selene driving the less usual four horses see Morford, p. 353.
  69. Ovid, Fasti 4.374.
  70. Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Nonnus, Dionysiaca 7.244, 11.185 ff., 1.214 ff., 2.405 ff.. For an image of Selene driving cattle, see LIMC 13303 (Selene, Luna 61).
  71. Grimal, s.v. Selene p. 415; Nonnus, Dionysiaca 44.191.
  72. Pindar, Olympian 3.19–20. For the use of "golden" in reference to the moon, see: Allen, [6] "χρυσέου".
  73. Hymn to Helios (31) 6, Hymn to Selene, (32) 18; Rudin, pp. 94–95; Morford, p. 64; Aelian, On Animals, 12.7.
  74. "Winged": Hymn to Selene, (32) 1 (a winged Selene seems to be unique to this Hymn, see Allen, [1] "τανυσίπτερον"); "White-armed": Hymn to Selene, (32) 17; "Benevolent": Allen, [18] "Πρόφρον".
  75. Aeschylus, Seven Against Thebes 390.
  76. Ovid, Metamorphoses 7.179; Aratus, Phaenomena 733; Nonnus, Dionysiaca 48.583; Valerius Flaccus, Argonautica 8.29; Quintus Smyrnaeus, Fall of Troy 1.147; Virgil, Georgics 1.436; Seneca, Medea 98, Phaedra 419; Statius, Thebaid 12.1–3; Tryphiodorus, The Taking of Ilios 514.
  77. Orphic Hymn to Selene (Athanaassakis and Wolkow, p. 11).
  78. Keightley, p. 56.
  79. Nonnus, Dionysiaca 5.70.
  80. Pamprepius, frag 3.
  81. Mesomedes, Hymn to the Sun 15.
  82. For an example of Selene depicted on a coin see British Museum, R.7248; for an example of a gem see the British Museum 1923,0401.199.
  83. Cohen, p. 157.
  84. Hard, p. 46; Savignoni, p. 271; Walters, p. 79; Murray (1892) p. 272.
  85. Hard, p. 46; Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Murray (1903) p. 47. Hansen, p. 221 shows two images one captioned "Selene riding a mule", the other "Selene riding a ram". Cf. Pausanias, 5.11.8.
  86. Neils, pp. 236–237; Palagia, p. 22. This is the usual interpretation, but some have suggested that instead of Selene, the goddess on the right could be Nyx or Eos, e.g. see Robertson 1981, p. 96. The same pair also appear on the North Metopes of the Parthenon, with Selene this time entering the sea on horseback, see Hurwit, p. 170.
  87. Robertson 1981, p. 96, Pausanias, 5.11.8.
  88. Morris, p. 87. For another example of the framing of a scene, in this case the Judgement of Paris, see Robertson 1992, p. 255.
  89. Pausanias, 6.25.6.
  90. Thomas, p.17; Mitchell, p. 92.
  91. Savignoni, pp. 270–271; Cohen, pp. 178–179; LIMC 13265 (Selene, Luna 35); Zschietzschmann, p. 23.
  92. British Museum 1923,0401.199; LIMC 13213 (Selene, Luna 21); LIMC 13181 (Selene, Luna 4); LIMC 18206 (Mithras 113); LIMC 13207 (Selene, Luna 15); LIMC 13264 (Selene, Luna 34); LIMC 6780 (Selene, Luna 2); LIMC 13186 (Selene, Luna 7); LIMC 13188 (Selene, Luna 9); LIMC 3076 (Selene, Luna 10); LIMC 13211 (Selene, Luna 19). For the close association between the crescent moon and horns see Cashford 2003b.
  93. Parisinou, p. 34.
  94. Fowler, p. 134; Sorabella, p. 70; Morford, p. 65.
  95. Examples, among many others, include sarcophagi in the Capitoline Museum in Rome (c. 135 AD ), two in the Metropolitan Museum of Art in New York (c. 160 AD and c. 220 AD), and one in Palazzo Doria Pamphilj Rome (c. 310 AD), for images see Sorabella, figs. 1–7, 12.
  96. de Clarac, p. 340; "Site officiel du musée du Louvre". cartelfr.louvre.fr. Retrieved 2020-04-22.; "Image gallery: drawing / album". British Museum. Retrieved 2020-04-22..
  97. Athanaassakis and Wolkow, p. 89; Oxford Classical Dictionary, s.v. Selene, pp. 970–971; Burkert 1991, p. 176.
  98. Plutarch, Agis 9; Pausanias, 3.26.1.
  99. Pausanias, 6.24.6.
  100. Hard, p. 46; Cashford 2003a, p. 174; Willetts, p. 178; Cook, p. 732; Roscher, p. 100.
  101. Cashford 2003a, p. 174; Kerényi, p. 197; Cox, pp. 138, 140.
  102. Parker 2005, pp. 447–448.
  103. Robertson 1996, p. 75 n. 109; Willets, pp. 178–179; Cook, 732; Harpers, s.v. Selene; Smith, s.v. Pandia.
  104. Chrysippus frag 748.
  105. Plutarch, Quaestiones Romanae 77.
  106. Cicero, De Natura Deorum 2.68.
  107. Nonnus, Dionysiaca 38.149.
  108. Hard, p. 46.
  109. Hard, p. 46; Athanaassakis and Wolkow, p. 90; Theocritus, 2.10–11, 69–166.
  110. Selene's great-niece.
  111. Farone, p. 139; Collard and Cropp, p. 469; Scholia on Theocritus 2.10.
  112. Martin, p. 302; Olderr, p. 98.
  113. This Epigenes has been tentatively identified with Epigenes, the follower of Socrates, see Blum, p. 180; Edmonds 2013, p. 14.
  114. Jones, pp. 50–51, citing Clement of Alexandria, Stromata: Abel, frg. 253.
  115. Planetary names: Moon
  116. Hesiod, Theogony 132–138, 337–411, 453–520, 901–906, 915–920; Caldwell, pp. 8–11, tables 11–14.
  117. Although usually the daughter of Hyperion and Theia, as in Hesiod, Theogony 371–374, in the Hymn to Hermes (4), 99–100, Selene is instead made the daughter of Pallas the son of Megamedes.
  118. According to Hesiod, Theogony 507–511, Clymene, one of the Oceanids, the daughters of Oceanus and Tethys, at Hesiod, Theogony 351, was the mother by Iapetus of Atlas, Menoetius, Prometheus, and Epimetheus, while according to Apollodorus, 1.2.3, another Oceanid, Asia was their mother by Iapetus.
  119. According to Plato, Critias, 113d–114a, Atlas was the son of Poseidon and the mortal Cleito.
  120. In Aeschylus, Prometheus Bound 18, 211, 873 (Sommerstein, pp. 444, 445 n. 2, 446, 447 n. 24, 538, 539 n. 113) Prometheus is made to be the son of Themis.

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