In Greek mythology , Tereus ( / ˈ t ɛ r i ə s , ˈ t ɪər j uː s / ; Ancient Greek : Τηρεύς) was a Thracian king, the son of Ares and the naiad Bistonis . He was the brother of Dryas . Tereus was the husband of the Athenian princess Procne and the father of Itys .
63-574: When Tereus desired his wife's sister, Philomela , he came to Athens to his father-in-law Pandion to ask for his other daughter in marriage, stating that Procne had died. Pandion granted him the favour, and sent Philomela and guards along with her. But Tereus threw the guards into the sea, and finding Philomela on a mountain, forced himself upon her. He then cut her tongue out and held her captive so she could never tell anyone. After he returned to Thrace, Tereus gave Philomela to King Lynceus and told his wife that her sister had died. Philomela wove letters in
126-454: A tapestry depicting Tereus's crime and sent it secretly to Procne. Lynceus' wife Lathusa who was a friend of Procne, at once sent the concubine (Philomela) to her. When Procne recognized her sister and knew the impious deed of Tereus, the two planned to return the favour to the king. Meanwhile, it was revealed to Tereus by prodigies that death by a relative's hand was coming to his son Itys. When he heard this, thinking that his brother Dryas
189-484: A "barbaric race". It is possible that these elements were woven into Sophocles' play Tereus and other works of the period. The material of the Philomela myth has been used in various creative works—artistic and literary—for the past 2,500 years. Over the centuries, the myth has been associated with the image of the nightingale and its song described as both exceedingly beautiful and sorrowful. The continued use of
252-587: A Spanish trading vessel. Poet and writer Angus Peter Campbell , quoting poet Sorley MacLean , has called it "one of the great artistic glories of all Europe". Author Bridget MacKenzie, in Piping Traditions of Argyll , suggests that it refers to the slaughter of the MacLeod's fighting Cromwell's forces at the Battle of Worcester. It may have been inspired by both. Other Scottish laments from outside of
315-455: A battle with his enemies who violently opposed his poems. In Gascoigne's poem "The complaynt of Philomene" (1576), the myth is employed to depict punishment and control. In " The Nymph's Reply to the Shepherd ", Sir Walter Raleigh (1554–1618) relays consolation regarding the nymph 's harsh rejection of the shepherd's romantic advances in the spirit of "time heals all wounds" by citing in
378-520: A direct reference to the murder of Agamemnon in the tragedy by Aeschylus—wherein the Greek dramatist directly evoked the Philomela myth. The poem describes Sweeney as a brute and that two women in the poem are conspiring against him for his mistreatment of them. This mirrors not only the elements of Agamemnon's death in Aeschylus' play but the sister's revenge against Tereus in the myth. In the poem "To
441-473: A fixture in romantic opera, and the Marschallin's monologue in act 1 of Der Rosenkavalier can be understood as a penetrating psychological lament. In modernity, discourses about melancholia and trauma take the functional place ritual laments hold in premodern societies. This entails a shift from a focus on community and convention to individuality and authenticity. The purely instrumental lament
504-552: A musico-dramatic high point. In the context of opera buffa , the Countess's lament, " Dove sono ", comes as a surprise to the audience of Wolfgang Amadeus Mozart 's The Marriage of Figaro , and in Gioachino Rossini 's Barber of Seville , Rosina's plaintive words at her apparent abandonment are followed, not by the expected lament aria, but by a vivid orchestral interlude of storm music. The heroine's lament remained
567-458: A poet and "master of a superior art that could inspire the human poet". For some romantic poets, the nightingale even began to take on qualities of the muse. John Keats (1795–1821), in " Ode to a Nightingale " (1819) idealizes the nightingale as a poet who has achieved the poetry that Keats himself longs to write. Keats directly employs the Philomel myth in " The Eve of St. Agnes " (1820) where
630-723: A poet would "hold his tongue" (line 13) in deference to the more beautiful nightingale's song so that he "not dull you with my song" (line 14). Emilia Lanier (1569–1645), a poet who is considered by some scholars to be the woman referred to in the poetry of William Shakespeare as " Dark Lady ", makes several references to Philomela in her patronage poem "The Description of Cookeham" in Salve Deus Rex Judaeorum (1611). Lanier's poem, dedicated to Margaret Clifford, Countess of Cumberland and her daughter Lady Anne Clifford refers to Philomela's "sundry layes"(line 31) and later to her "mournful ditty" (line 189). The image of
693-399: A poetic device that aids in the "recognition"—the change from ignorance to knowledge—of what has happened earlier in the plot. Such a device, according to Aristotle, is ″contrived″ by the poet, and thus is "inartistic". The connection between the nightingale's song and poetry is evoked by Aristophanes in his comedy The Birds and in the poetry of Callimachus . Roman poet Virgil compares
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#1732779832643756-530: A variation of the myth set in Asia Minor , Philomela is called Chelidon ("swallow") and her sister Aëdon ("nightingale"). The story of Philomela, Procne, and Tereus is largely influenced by Sophocles' lost tragedy Tereus . Scholar Jenny Marsh claims Sophocles borrowed certain plot elements from Euripides ' drama Medea —notably a wife killing her child in an act of revenge against her husband—and incorporated them in his tragedy Tereus . She implies that
819-670: Is a common form in piobaireachd music for the Scottish bagpipes . "MacCrimmon's Lament" dates to the Jacobite uprising of 1745. The tune is held to have been written by Donald Ban MacCrimmon, piper to the MacLeods of Dunvegan, who supported the Hanoverians. It is said that Donald Ban, who was killed at Moy in 1746, had an intimation that he would not return. A well-known Gaelic lullaby is " Griogal Cridhe " ("Beloved Gregor"). It
882-521: Is a minor figure in Greek mythology who is frequently invoked as a direct and figurative symbol in literary and artistic works in the Western canon . Philomela was the younger of two daughters of Pandion I , King of Athens , and the naiad Zeuxippe . Her sister, Procne , was the wife of King Tereus of Thrace . Philomela's other siblings were Erechtheus , Butes and possibly Teuthras . While
945-463: Is a passionate expression of grief , often in music , poetry , or song form. The grief is most often born of regret , or mourning . Laments can also be expressed in a verbal manner in which participants lament about something that they regret or someone that they have lost, and they are usually accompanied by wailing, moaning and/or crying . Laments constitute some of the oldest forms of writing, and examples exist across human cultures. Many of
1008-419: Is nothing melancholy", (line 15) expressing hope "we may not thus profane / Nature's sweet voices, always full of love / And joyance!" (lines 40–42). At the poem's conclusion, Coleridge writes of a father taking his crying son outside in the night: And he beheld the moon, and, hushed at once, Suspends his sobs, and laughs most silently, While his fair eyes, that swam with undropped tears,' Did glitter in
1071-420: Is perpetuated largely through its appearance as a powerful device in poetry. In the 20th century, American-British poet T. S. Eliot (1888–1965) directly referenced the myth in his most famous poem, The Waste Land (1922), where he describes, The change of Philomel, by the barbarous king So rudely forced; yet there the nightingale Filled all the desert with inviolable voice And still she cried, and still
1134-509: Is salient to note that in taxonomy and binomial nomenclature , the genus name of the martins (the larger-bodied among swallow genera) is Progne , a Latinized form of Procne. Other related genera named after the myth include the Crag Martins Ptyonoprogne , and Saw-wings Psalidoprocne . Coincidentally, although most of the depictions of the nightingale and its song in art and literature are of female nightingales,
1197-473: Is the most complete, lasting version of the myth, it is the basis for many later works. In the 12th century, French trouvère (troubadour) Chrétien de Troyes , adapted many of the myths recounted in Ovid's Metamorphoses into Old French . However, de Troyes was not alone in adapting Ovid's material. Geoffrey Chaucer recounted the story in his unfinished work The Legend of Good Women and briefly alluded to
1260-434: Is the nightingale and Procne is the swallow. The description of Tereus as an "epops" has generally been translated as a hoopoe (scientific name: Upupa epops ). Since many of the earlier sources are no longer extant, or remain only in fragments, Ovid's version of the myth has been the most lasting and influential upon later works. Early Greek sources have it that Philomela was turned into a swallow, which has no song; Procne
1323-760: The Life of Christ in art , showing Jesus' dead body being mourned after the Crucifixion . Jesus himself lamented over the prospective fall of Jerusalem as he and his disciples entered the city ahead of his passion . A lament in the Book of Lamentations or in the Psalms , in particular in the Lament/Complaint Psalms of the Tanakh , may be looked at as "a cry of need in a context of crisis when Israel lacks
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#17327798326431386-656: The Metamorphoses of the Roman poet Ovid (Publius Ovidius Naso) (43 BC – 17/18 AD), where the story reaches its full development during antiquity. It is likely that Ovid relied upon Greek and Latin sources that were available in his era such as the Bibliotheca of Pseudo-Apollodorus (2nd century BC), or sources that are no longer extant or exist today only in fragments—especially Sophocles ' tragic drama Tereus (5th century BC). According to Ovid, in
1449-654: The Hindu Vedas , and in ancient Near Eastern religious texts. They are included in the Mesopotamian City Laments such as the Lament for Ur and the Jewish Tanakh , or Christian Old Testament . In many oral traditions, both early and modern, the lament has been a genre usually performed by women: Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of
1512-404: The swallow whose song is a song of mourning for the loss of her child; Philomela became the nightingale . Incidentally, the female nightingale has no song. ( Hyginus , Fabulae , 45). A very similar story was told about Polytechnus . Tereus was also a common given name among Thracians. The Attic playwrights Sophocles and Philocles both wrote plays entitled Tereus on the subject of
1575-469: The Nightingale", Argentine poet and fabulist, Jorge Luis Borges (1899–1986), compares his efforts as a poet to the bird's lament though never having heard it. He describes its song as "encrusted with mythology" and that the evolution of the myth has distorted it—that the opinions of other poets and writers have kept both poet and reader from actually hearing the original sound and knowing the essence of
1638-413: The baseness of your hellish crime. My self, abandon'd, and devoid of shame, Thro' the wide world your actions will proclaim; Or tho' I'm prison'd in this lonely den, Obscur'd, and bury'd from the sight of men, My mournful voice the pitying rocks shall move, And my complainings echo thro' the grove. Hear me, o Heav'n! and, if a God be there, Let him regard me, and accept my pray'r. Philomela
1701-537: The course of the return voyage to Thrace. Arriving in Thrace, he forced her to a cabin or lodge in the woods and raped her. After the assault, Tereus threatened her and advised her to keep silent. Philomela was defiant and angered Tereus. In his rage, he cut out her tongue and abandoned her in the cabin. In Ovid 's Metamorphoses Philomela's defiant speech is rendered (in an 18th-century English translation) as: Still my revenge shall take its proper time, And suit
1764-585: The depiction of Lucrece in The Rape of Lucrece , in the depiction of Imogen in Cymbeline , and in Titania 's lullaby in A Midsummer Night's Dream where she asks Philomel to "sing in our sweet lullaby". In Sonnet 102 , Shakespeare addresses his lover (the "fair youth") and compares his love poetry to the song of the nightingale, noting that "her mournful hymns did hush the night" (line 10), and that as
1827-572: The emotional pathos of their operatic contexts. An early example is Ariadne's "Lasciatemi morire", which is the only survivor of Claudio Monteverdi 's lost Arianna . Francesco Cavalli 's operas extended the lamento formula, in numerous exemplars, of which Ciro's "Negatemi respiri" from Ciro is notable. Other examples include Dido's Lament ("When I am laid in earth") ( Henry Purcell , Dido and Aeneas ), " Lascia ch'io pianga " ( George Frideric Handel , Rinaldo ), "Caro mio ben" ( Tomaso or Giuseppe Giordani ). The lament continued to represent
1890-520: The female nightingale is mute, and only the male of the species sings. Ovid and other writers have made the association that the etymology of her name was "lover of song", derived from the Greek φιλο- and μέλος ("song") instead of μῆλον ("fruit" or "sheep"), which means "lover of fruit", "lover of apples", or "lover of sheep". The most complete and extant rendering of the story of Philomela, Procne, and Tereus can be found in Book VI of
1953-448: The female of the species does not sing—it is the male of the species who sings its characteristic song. In an early account, Sophocles wrote that Tereus was turned into a large-beaked bird whom some scholars translate as a hawk while a number of retellings and other works (including Aristophanes ' ancient comedy The Birds ) hold that Tereus was instead changed into a hoopoe. Various later translations of Ovid state that Tereus
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2016-583: The fifth year of Procne's marriage to Tereus , King of Thrace and son of Ares , she asked her husband to "Let me at Athens my dear sister see / Or let her come to Thrace, and visit me." Tereus agreed to travel to Athens and escort her sister, Philomela, to Thrace. King Pandion of Athens, the father of Philomela and Procne, was apprehensive about letting his one remaining daughter leave his home and protection and asks Tereus to protect her as if he were her father. Tereus agrees. However, Tereus lusted for Philomela when he first saw her, and that lust grew during
2079-446: The image in artistic, literary, and musical works has reinforced this association. Beginning with Homer 's Odyssey , ancient dramatists and poets evoked the story of Philomela and the nightingale in their works. Most notably, it was the core of the tragedy Tereus by Sophocles (lost, extant only in fragments) and later in a set of plays by Philocles , the nephew of the great playwright Aeschylus . In Aeschylus's Agamemnon ,
2142-582: The infanticide of Itys did not appear in the Tereus myth until Sophocles' play and that it was introduced because of what was borrowed from Euripides. It is possible that social and political themes have woven their way into the story as a contrast between Athenians who believed themselves to be the hegemonic power in Greece and the more civilized of the Greek peoples, and the Thracians who were considered to be
2205-787: The lack thereof, a vow corresponding to an expected divine response, and lastly, a song of thanksgiving. Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively. The Lament of Edward II , if it is actually written by Edward II of England , is the sole surviving composition of his. A heroine's lament is a conventional fixture of baroque opera seria , accompanied usually by strings alone, in descending tetrachords . Because of their plangent cantabile melodic lines, evocatively free, non- strophic construction and adagio pace, operatic laments have remained vividly memorable soprano or mezzo-soprano arias even when separated from
2268-549: The mourning of Orpheus for Eurydice to the "lament of the nightingale". While Ovid's retelling of the myth is the more famous version of the story, he had several ancient sources on which to rely before he finished the Metamorphoses in A.D. 8. Many of these sources were doubtless available to Ovid during his lifetime but have been lost or come to us at present only in fragments. In his version, Ovid recast and combined many elements from these ancient sources. Because his
2331-404: The myth has several variations, the general depiction is that Philomela, after being raped and mutilated by her sister's husband, Tereus , obtains her revenge and is transformed into a nightingale ( Luscinia megarhynchos ), a bird renowned for its song. Because of the violence associated with the myth, the song of the nightingale is often depicted or interpreted as a sorrowful lament . In nature,
2394-577: The myth in his epic poem Troilus and Criseyde . John Gower included the tale in his Confessio Amantis . References to Philomela are common in the motets of the ars nova , ars subtilior , and ars mutandi musical eras of the late fourteenth and early fifteenth centuries. Throughout the late Renaissance and Elizabethan eras, the image of Philomela and the nightingale incorporated elements of mourning and beauty after being subjected to an act of violence . In his long poem "The Steele Glas" (1576), poet George Gascoigne (1535–1577) depicts "Philomel" as
2457-476: The nightingale appears frequently in poetry of the period with it and its song described by poets as an example of "joyance" and gaiety or as an example of melancholy, sad, sorrowful, and mourning. However, many use the nightingale as a symbol of sorrow but without a direct reference to the Philomela myth. Poets in the Romantic Era recast the myth and adapted the image of the nightingale with its song to be
2520-570: The oldest and most lasting poems in human history have been laments. The Lament for Sumer and Ur dates back at least 4000 years to ancient Sumer , the world's first urban civilization. Laments are present in both the Iliad and the Odyssey , and laments continued to be sung in elegiacs accompanied by the aulos in classical and Hellenistic Greece. Elements of laments appear in Beowulf , in
2583-587: The oral tradition that resulted in the Iliad The material of lament, the "sound of trauma" is as much an element in the Book of Job as in the genre of pastoral elegy , such as Shelley 's "Adonais" or Matthew Arnold 's "Thyrsis". The Book of Lamentations or Lamentations of Jeremiah figures in the Old Testament. The Lamentation of Christ (under many closely variant terms) is a common subject from
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2646-526: The passage of time or for competing variations of the myth to emerge. With the story of Philomela, most of the variations concern which sister became the nightingale or the swallow, and into what type of bird Tereus was transformed. In Greek texts like Achilles Tatius and the Bibliotheca of Pseudo-Apollodorus, Philomela is transformed into a swallow and Procne into a nightingale, but in Latin texts Philomela
2709-473: The prophetess Cassandra has a visionary premonition of her own death in which she mentioned the nightingale and Itys, lamenting: Ah for thy fate, O shrill-voiced nightingale! Some solace for thy woes did Heaven afford, Clothed thee with soft brown plumes, and life apart from wail(ing)— In his Poetics , Aristotle points to the "voice of the shuttle" in Sophocles ′ tragedy Tereus as an example of
2772-493: The rape of Madeline by Porphyro mirrors the rape of Philomela by Tereus. Keats' contemporary, poet Percy Bysshe Shelley (1792–1822) invoked a similar image of the nightingale, writing in his A Defence of Poetry that "a poet is a nightingale who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why." In France, Philomèle
2835-411: The representative of poetry (Poesys), her sister Progne as satire (Satyra), and Tereus as "vayne Delight". The characterization of Philomela and the nightingale was that of a woman choosing to exercise her will in recovering her voice and resisting those forces which attempts to silence her. Critics have pointed to Gascoigne's use of the Philomela myth as a personal appeal and that he was fighting in verse
2898-411: The resources to fend for itself". Another way of looking at it is all the more basic: laments simply being "appeals for divine help in distress". These laments, too, often have a set format: an address to God, description of the suffering/anguish from which one seeks relief, a petition for help and deliverance, a curse towards one's enemies, an expression of the belief of ones innocence or a confession of
2961-525: The same name composed by Richard Mills ). Canadian playwright Erin Shields adapted the myth in her play If We Were Birds (2011), which won the 2011 Governor General's Award for Drama . More recently, poet and author Melissa Studdard brought new life to the myth in her poem "Philomela's tongue says" (2019), published in Poetry magazine's May 2019 edition. Lament A lament or lamentation
3024-577: The second stanza (among several examples) that eventually, with the passage of time, Philomel would become "dumb" to her own pain and that her attention would be drawn away from the pain by the events of life to come. In Sir Philip Sidney 's (1554–1586) courtly love poem "The Nightingale", the narrator, who is in love with a woman he cannot have, compares his own romantic situation to that of Philomela's plight and claims that he has more reason to be sad. However, recent literary criticism has labelled this claim as sexist and an unfortunate marginalization of
3087-474: The sisters intending to kill them. They fled but were almost overtaken by Tereus at Daulia in Phocis. The sisters desperately prayed to the gods to be turned into birds and escape Tereus' rage and vengeance. The gods transformed Procne into a swallow and Philomela into a nightingale . Subsequently, the gods transformed Tereus into a hoopoe . It is typical for myths from antiquity to have been altered over
3150-738: The song. Several artists have applied Ovid's account to new translations or reworkings, or adapted the story for the stage. Leonard Quirino notes that the plot of Tennessee Williams 's play A Streetcar Named Desire "is modeled on the legend of Tereus". British poet Ted Hughes (1930–1998) used the myth in his 1997 work Tales from Ovid (1997) which was a loose translation and retelling of twenty-four tales from Ovid's Metamorphoses . Both Israeli dramatist Hanoch Levin (in The Great Whore of Babylon ) and English playwright Joanna Laurens (in The Three Birds ) wrote plays based on
3213-751: The story of Tereus. Shakespeare refers to Tereus in Titus Andronicus , after Chiron and Demetrius have raped Lavinia and cut out her tongue and also both her hands. He also makes reference to Tereus in Cymbeline , when Iachimo spies upon the sleeping Imogen to gather false evidence so he can persuade Posthumus he has seduced her. The transformed Tereus is a character in The Birds by Aristophanes . Philomela Philomela ( / ˌ f ɪ l ə ˈ m iː l ə / ) or Philomel ( / ˈ f ɪ l ə ˌ m ɛ l / ; ‹See Tfd› Greek : Φιλομήλη , Philomēlē ; Φιλομήλα Philomḗla )
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#17327798326433276-486: The story. The story was adapted into an opera by Scottish composer James Dillon in 2004, and a 1964 vocal composition by American composer Milton Babbitt with text by John Hollander . The reference to Philomela also exists in the name of a Bengali music troupe in Calcutta, India, called Nagar Philomel (The city that loves song), formed in 1983. Several female writers have used the Philomela myth in exploring
3339-606: The subject of rape, women and power ( empowerment ) and feminist themes, including novelist Margaret Atwood in her novella "Nightingale" published in The Tent (2006), Emma Tennant in her story "Philomela", Jeannine Hall Gailey who uses the myth in several poems published in Becoming the Villainess (2006) , and Timberlake Wertenbaker in her play The Love of the Nightingale (1989) (later adapted into an opera of
3402-551: The traumatic rape of Philomela. Sidney argues that the rape was an "excess of love" and less severe than being deprived of love as attested by the line, "Since wanting is more woe than too much having." Playwright and poet William Shakespeare (1564–1616) makes frequent use of the Philomela myth—most notably in his tragedy Titus Andronicus (c. 1588–1593) where characters directly reference Tereus and Philomela in commenting on rape and mutilation of Lavinia by Aaron, Chiron, and Demetrius. Prominent allusions to Philomela also occur in
3465-462: The world pursues, "Jug Jug" to dirty ears. Eliot employs the myth to depict themes of sorrow, pain, and that the only recovery or regeneration possible is through revenge. Several of these mentions reference other poets' renderings of the myth, including those of Ovid and Gascoigne. Eliot's references to the nightingales singing by the convent in "Sweeney and the Nightingales" (1919–1920) is
3528-444: The yellow moon-beam! Well!— It is a father's tale: But if that Heaven Should give me life, his childhood shall grow up Familiar with these songs, that with the night He may associate joy.— Coleridge and his friend William Wordsworth (1770–1850), who called the nightingale a "fiery heart", depicted it "as an instance of natural poetic creation", and the "voice of nature". Other notable mentions include: The Philomela myth
3591-414: Was an operatic stage production of the story, produced by Louis Lacoste during the reign of Louis XIV . First published in the collection Lyrical Ballads , "The Nightingale" (1798) is an effort by Samuel Taylor Coleridge (1772–1834) to move away from associations that the nightingale's song was one of melancholy and identified it with the joyous experience of nature. He remarked that "in nature there
3654-555: Was composed in 1570 after the execution of Gregor MacGregor by the Campbells. The grief-stricken widow, Marion Campbell, describes what happened as she sings to her child. " Cumhadh na Cloinne " ("Lament for the Children") is a pìobaireachd composed by Padruig Mór MacCrimmon in the early 1650s. It is generally held to be based on the loss of seven of MacCrimmon's eight sons within a year to smallpox , possibly brought to Skye by
3717-520: Was not King of Thrace, but rather from Daulia in Phocis , a city inhabited by Thracians. Thucydides cites as proof of this that poets who mention the nightingale refer to it as a "Daulian bird". It is thought that Thucydides commented on the myth in his famous work on the Peloponnesian War because Sophocles' play confused the mythical Tereus with contemporary ruler Teres I of Thrace. In
3780-475: Was plotting his son's death, he killed the innocent man. Procne, however, killed her son Itys by Tereus, served his flesh in a meal at his father's table in revenge, and fled with her sister. When Tereus learned of the crime she had done, he pursued the sisters and tried to kill them but all three were changed by the Olympian Gods into birds out of pity: Tereus became a hoopoe or a hawk; Procne became
3843-504: Was transformed into other birds than the hawk and hoopoe, including references by Dryden and Gower to the lapwing . Several writers omit key details of the story. According to Pausanias , Tereus was so remorseful for his actions against Philomela and Itys (the nature of the actions is not described) that he kills himself. Then two birds appear as the women lament his death. Many later sources omit Tereus' tongue-cutting mutilation of Philomela altogether. According to Thucydides , Tereus
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#17327798326433906-479: Was turned into a nightingale, singing a beautiful but sad song in remorse. Later sources, among them Hyginus and in modern literature the English romantic poets like Keats write that although she was tongueless, Philomela was turned into a nightingale, and Procne into a swallow. Eustathius ' version of the story has the sisters reversed, so that Philomela married Tereus and that Tereus lusted after Procne. It
3969-431: Was unable to speak because of her injuries, and so she wove a tapestry (or a robe ) that told her story and sent it to Procne. Procne was incensed by her husband's actions and killed their son Itys (or "Itylos") in revenge. She boiled Itys and served him as a meal for Tereus. After Tereus ate Itys, the sisters presented Tereus with the severed head of his son, revealing the conspiracy. Tereus grabbed an axe and chased
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