Ὠκεανόν τε θεῶν γένεσιν, καὶ μητέρα Τηθύν. (xiv. 201).
[25] Odyss. ix. 87.
[26] Iliad, i. 401.
[27] Iliad, xiv. 203-295; xv. 204.
[28] Iliad, viii. 482; xiv. 274-279. In the Hesiodic Opp. et Di., Kronos is represented as ruling in the Islands of the Blest in the neighborhood of Oceanus (v. 168).
[29] See the few fragments of the Titanomachia, in Düntzer, Epic. Græc. Fragm. p. 2; and Hyne, ad Apollodôr. I. 2. Perhaps there was more than one poem on the subject, though it seems that Athenæus had only read one (viii. p. 277).
In the Titanomachia, the generations anterior to Zeus were still further lengthened by making Uranos the son of Æthêr (Fr. 4. Düntzer). Ægæon was also represented as son of Pontus and Gæa, and as having fought in the ranks of the Titans; in the Iliad he (the same who is called Briareus) is the fast ally of Zeus.
A Titanographia was ascribed to Musæus (Schol. Apollôn. Rhod. iii. 1178; compare Lactant. de Fals. Rel. i. 21).
[30] That the Hesiodic Theogony is referable to an age considerably later than the Homeric poems, appears now to be the generally admitted opinion; and the reasons for believing so are, in my opinion, satisfactory. Whether the Theogony is composed by the same author as the Works and Days is a disputed point. The Bœotian literati in the days of Pausanias decidedly denied the identity, and ascribed to their Hesiod only the Works and Days: Pausanias himself concurs with them (ix. 31. 4; ix. 35. 1), and Völcker (Mithologie des Japetisch. Geschlechts, p. 14) maintains the same opinion, as well as Göttling (Præf. ad Hesiod. xxi.): K. O. Müller (History of Grecian Literature, ch. 8. § 4) thinks that there is not sufficient evidence to form a decisive opinion.
Under the name of Hesiod (in that vague language which is usual in antiquity respecting authorship, but which modern critics have not much mended by speaking of the Hesiodic school, sect, or family) passed many different poems, belonging to three classes quite distinct from each other, but all disparate from the Homeric epic:—1. The poems of legend cast into historical and genealogical series, such as the Eoiai, the Catalogue of Women, etc. 2. The poems of a didactic or ethical tendency, such as the Works and Days, the Precepts of Cheirôn, the Art of Augural Prophecy, etc. 3. Separate and short mythical compositions, such as the Shield of Hêraklês, the Marriage of Keyx (which, however, was of disputed authenticity, Athenæ. ii. p. 49), the Epithalamium of Pêleus and Thetis, etc. (See Marktscheffel, Præfat. ad Fragment. Hesiod. p. 89).