Musa

Mūsa, ae, f., = Μοῦσα,

• a muse, one of the goddesses of poetry, music, and the other liberal arts. The ancients reckoned nine of them, viz.: Clio, the muse of history; Melpomene, of tragedy; Thalia, of comedy; Euterpe, of the flute; Terpsichore, of dancing; Calliope, of epic poetry; Erato, of lyric poetry; Urania, of astronomy; Polyhymnia, of the mimic art, Aus. Idyll. 20; Cic. N. D. 3, 21, 54; Hor. Ep. 2, 2, 92: Musarum delubra, Cic. Arch. 11, 27: hic Musarum parens domusque Pieria, Mel. 2, 3, 2: crassiore Musā, in a plainer, clearer manner, without too much refinement, Quint. 1, 10, 28: sine ullā Musā, without any genius, wit, taste, Varr. ap. Non. 448, 16.—
• II Transf.
• • A A song, a poem: musa procax, Hor. C. 2, 1, 37: pedestris, a style of poetry bordering on prose, id. S. 2, 6, 17.—
  • B Plur., sciences, studies: quis est omnium, qui modo cum Musis, id est cum humanitate et cum doctrinā habeat aliquod commercium, qui, etc., Cic. Tusc. 5, 23, 66: agrestiores, id. Or. 3, 12: mansuetiores, philosophical studies, id. Fam. 1, 9, 23.

Mūsa, ae, m.,

• a Roman surname, e. g. Antonius Musa, a physician in ordinary of Augustus, Suet. Aug. 59; Plin. 19, 8, 38, § 128: Q. Pomponius Musa, in Eckhel. D. N. V. t. 5, p. 283.

Mūsa, ae, f. (Μοῦσα), I) die Muse, d.i. Göttin der Gelehrsamkeit, bes. der Dichtkunst u. Musik, rein lat. Camena (w. vgl.). Die Alten zählen zuw. drei od. vier, gew. aber neun Musen (nämlich Calliope, Clio, Melpomene, Thalia, Euterpe, Erato, Urania, Polyhymnia, Terpsichore; vgl. Anthol. Lat. 88, 1 sqq. = 616, 1 sqq. u. 664 = 618 sqq.), Cic. de nat. deor. 3, 54. Hor. ep. 2, 2, 92: Musarum delubra, Cic. Arch. 27: hic Musarum parens domusque Pieria, Mela 2, 3, 2 (2. § 36). – übtr., crassiore Musā, von eben nicht feiner Bildung, Quint. 1, 10, 28: sine ulla Musa, ohne Witz, Geschmack, Varro. – II) meton.: 1) ein Gesang, Gedicht, Lied, procax, Hor.: silvestris, agrestris, rustica, Verg.: pedestris, niedere Art zu dichten, die an die Prosa grenzt, Hor.: nova iudicio subdita Musa tuo est, Ov. – 2) die Gelehrsamkeit, Studien, Musae agrestiores, Ggstz. mansuetiores, Cic. or. 12 (vgl. agrestis no. II, 2): Atticarum Musarum scriptores, Varro sat. Men. 379.

1 Musa [CL < Μοῦσα] 1 Muse, one of nine goddesses presiding over the arts; b (dist. by name or class); c (expl. as mode of learning or understanding); d (expl. as element or organ from which sound issues). de fonte aut monte ~arum Aldh. Met. 9; hymnos ‥ primum Emmia Timote effecit in Apollinem et ~as Bonif. Met. 112; Helson [i.~e. Helicon], mons ~arum GlC H 76; Musa refer, celebremque viri depinge vigorem H. Avr. Guthl. proem. 4; novem ~e choream faciunt et circa Apollinem cantus melodiam promunt Deorum Imag. 4; musica ‥ dicitur a ~is quasi poete finxerunt Jovis esse filias et memorie, quia nisi memoria teneantur, soni pereunt Odington 60.  b non rogo ruricolas versus et commata Musas / nec peto Castalidas metrorum cantica nimphas / ‥ servare Aldh. VirgV 23; Erata [i.~e. Erato], ~a GlC E 284; Euterpe, nomen ~ae Ib. 349; Melfoben [i.~e. Melpomene] ~a Ib. M 183; Pieris, ~a [silvestris] Ib. P 404; Thersicorem [i. e. Terpsichore]: ~a Ib. T 154; 9‥ ruricolas ~as landælf WW; sunt novem ~e filie Jovis et Memorie, secundum alios filie Thespii ‥ quarum nomina sunt hec: Clio, Euterpe, Melpomene, Thalia, Pollinna, Erato, Tercicore, Urania, Calliope Natura Deorum 21.  c sunt ‥ novem ~e que sapientiam comitantur: Clio cogitatio discendi, Polimia memoria retinendi, Tersicore delectatio studendi, Erato inventio similium, Melpomene cogitatio perseverandi, Talia dans capacitatem, Calliope optima vox, Euterpe bene delectans, Urania celestis que est intelligentia Bern. Comm. Aen. 35; ~e autem appellate sunt a Greco maso, id est, a querendo, quod per eas ‥ vis carminum et vocum quereretur Gir. TH III 15; Fulgentius ‥ novem ~as doctrine atque scientie modos appellat ‥. prima Clio ponitur, que fama interpretatur. ‥ secundam Euterpen dicimus, que bene delectans interpretatur. ‥ tertia Melpomene dicitur, i.~e. meditationem faciens ‥. quarta Thalia, i.~e. capacitas vel ponens germina. quinta Polymnia, i.~e. multam memoriam faciens ‥. sexta Erato, i.~e. inveniens simile. ‥ septima Terpsichore, i.~e. delectans instructione. ‥ Uranea octava, i.~e. celestis. ‥ nona Calliope, i.~e. optime vocis Alb. Lond. DG 8. 18 (= Wals. AD 16).  d novem ~e ei [sc. Apolloni] ideo applicantur, quod secundum philosophos que vocem humanam operantur novem sunt: duo viz. labia, quatuor dentes, plectrum lingue, gutturis cavitas, pulmonis anhelitus Alb. Lond. DG 8. 17 (= Wals. AD 16); Varro tres tantum esse ~as commemorat, unam que ex aque nascitur motu, alteram quam aeris icti efficit sonus, tertiam que mera tantum voce consistit Alb. Lond. DG 8. 22; alii intelligunt novem ~as octo sperarum musicos cantus et unam illam armoniam que ex omnibus conficitur consonantibus Wals. AD 17. 2 source of artistic inspiration or a work that issues from it. nunc juvat ymnidicam paulatim vertere musam Wulf. Brev. 318; 10‥ ~is, mid sangum WW; hinc Anglae poteris musae gustare saporem R. Cant. Poems 1. 16; crux cancellavit musam michi metra novantem Garl. Mor. Scol. 273; nec Homerus neque Maro, / virgo clara, stilo claro / laudes tuas caneret; / immo neque Gabriel te / digna musa, digno celte / lucubrando pingeret Walt. Wimb. Virgo 139; Xenophon ‥ vocabatur ‥ a multis ~a propter leporem interpretacionis, quam ob rem sibi invicem emulabantur ipse et Plato W. Burley Vit. Phil. 150. 3 cornemuse, hornpipe, bagpipe. organa, nabla, lire, tympana, musae, / cymbala, sistra, chori, sidera, montes, / valdes et fluvios laudibus implent Gosc. Edith (II) 270; 11‥ ~a, pipe vel hwistle WW; ~a, pastorum ~a, instrumentum sonorum, backepipe Garl. Mor. Scol. gl. 147; sunt michi carmina consona, timpana, letaque musa Gower VC III 829.

1 Mūsa, (9) æ, f. (μοῦσα), ¶ 1 une des Muses : Cic. Nat. 3, 54 ; Hor. Ep. 2, 2, 92 || Musa crassiore Quint. 1, 10, 28, plus simplement, en un langage plus simple ; sine ulla Musa Varr. d. Non. 448, 16, sans talent, sans génie || pl. Mūsæ, les Muses : Cic. Arch. 27 ¶ 2 [fig.] chant, poésie, poème : Hor. O. 2, 1, 37 ; S. 2, 6, 17 || pl., études, science : Cic. Tusc. 5, 66 ; Musæ mansuetiores Cic. Fam. 1, 9, 23, Muses (= études) plus tranquilles.

2 Mūsa, æ, m. , surnom romain : Suet. Aug. 59 ; Plin. 29, 6.

musa, ae. f.
詩樂之女神。詩書。音樂。Pedestris musa 淺文。Crassiori musa 粗文法。Musae 學文。讀書。

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Musa

a rhetorician, frequently referred to by the elder Seneca, who calls him a man " multi ingenii, nullius cordis." (Controv. Praef. v.) Schott conjectures that this Musa may be the same person as Antonius Musa, the physician of Augustus mentioned below, but this is not very probable.

Musa , Aemi'lia

a rich woman, who died intestate in the reign of Tiberius, A. D. 17. Her property was claimed for the fiscus or imperial treasury, but was surrendered by the emperor to Aemilius Lepidus, to whose family she appeared to belong. Her surname Musa shows that she was a freedwoman. (Tac. Ann. 2.48.)

Musa , Anto'nius

a celebrated physician at Rome about the beginning of the Christian era. He was brother to Euphorbus, the physician to king Juba, and was himself the physician to the emperor Augustus. He was originally, according to Dio Cassius (53.30, p. 517). a freedman, an assertion which some persons, who are over-jealous about the dignity of the medical profession among the Romans, have controverted. When the emperor was seriously ill, and had been made worse by a hot regimen and treatment, B. C. 23, Antonins Musa succeeded in restoring him to health by means of cold bathing and cooling drinks, for which service he received from Augustus and the senate a large sum of money and the permission to wear a gold ring, and also had a statue erected in his honour near that of Aesculapius by public subscription. (Dio Cass. l.c. ; Schol. ad Horat. Epist. 1.15. 3; Sneton. August. 59, 81; Plin. Nat. 19.38, 25.38, 29.5.) He seems to have been attached to this mode of treatment, to which Horace alludes l.c.), but failed when he applied it to the case of M. Marcellus, who died under his care a few months after the recovery of Augustus, B. C. 23. (Dio Cass. l.c.) He is by some scholars supposed to be the person to whom one of Virgil's epigrams is inscribed (Catal. 13); but it is hardly likely, that, in a complimentary poem addressed to so eminent a physician, no mention whatever should be made of his medical acquirements. He has also been supposed to be the person described by Virgil in the Aeneid (12.390, &c.) under the name Iapis. (See Atterbury's Reflexions on the Character of Iapis, &c.) Further Information Pharmaceutical Works

He wrote several pharmaceutical works (Galen, De Compos. Medicam. sec. Gen. 2.1, vol. xiii. p. 463), which are frequently quoted by Galen (vol. xiii. pp. 47, 206, 263, 326, &c.), but of which nothing but a few fragments remain. Editions

The genuine fragments of his writings that remain were collected and published by Flor. Caldani, Bassano, 1800, 8vo. Spurious Works

There are two short Latin medical works ascribed to Antonius Musa, but these are universally considered to be spurious. Neither of these works require any particular notice here. De Herba Betonica Editions

This is to be found in the collection of medical writers published by Torinus, Basil. 1528, fol.; in Ackermann's Parabilium Medicamentorum Scriptores Antiqui, Norimb. 1788, 8vo.; and elsewhere. Instructio de Bona Valetudine Conservanda Editions

This is appended to the edition of Sextus Placitus published in 1538, Norimb., 4to. Further Information

Further information respecting his life and writings may be found in J. C. G. Ackermann's work, De Antonio Musa et Libris qui illi adscribuntur, Altorf. 1786, 4to. See also Fabricius, Bibl. Gr. vol. xiii. p. 65, ed. vet.; Haller's Biblioth. Botan. vol. i. p. 63; id. Biblioth. Medic. Pract. vol. i. p. 150; Sprengel, Hist. de la Méd. ; Choulant, Handb. der Bucherkunde für die Aeltere Medicin. [W.A.G]

Musa , Q. Pompo'nius

only known to us from coins, a specimen of which is annexed. The head on the obverse is uncertain: the figure on the reverse is one of the Muses, having reference to the cognomen of this Pomponius.

Mūsa ae, f

• , Μοῦσα, a muse, one of the nine Muses (goddesses of poetry, music, and all liberal arts): Sicelides, of pastoral poetry, V.: procax, H., C.—A song, poem: pedestris, conversational poetry, H.: Silvestris, V.—Plur, sciences, studies: cum Musis habere commercium: mansuetiores, philosophical studies.

Musa

Antonius. A celebrated physician at Rome just before the beginning of the Christian era. He was brother to Euphorbus, the physician to King Iuba, and was himself the physician to the emperor Augustus. He had been originally a slave. When the emperor was seriously ill, and had been made worse by a hot regimen and treatment, B.C. 23, Antonius Musa succeeded in restoring him to health by means of cold bathing and cooling drinks, for which service he received from Augustus and the Senate a large sum of money and permission to wear a gold ring; and also had a statue erected in his honour by public subscription near that of Aesculapius. He seems to have been attached to this mode of treatment, to which Horace alludes (Epist. i. 15, 3), but failed when he applied it to the case of M. Marcellus, who died under his care a few months after the recovery of Augustus, B.C. 23. He wrote several pharmaceutical works, which are frequently quoted by Galen, but of which nothing except a few fragments remains, edited by Caldani (Bassano, 1800). There are, however, two short Latin medical works ascribed to Antonius Musa, but they are universally considered to be spurious. See Pliny, H. N. xxx. 117.

Musa

or Muza (Μοῦσα, Μοῦζα, probably Moushid, north of Mokha). A celebrated port of Arabia Felix, on the western coast, near its southern extremity, or, in other words, on the eastern shore of the Red Sea, near the Strait of Bab-el-Mandeb.

Musae e

(Μοῦσαι). In Greek mythology the Muses were originally the nymphs of springs, whose waters gave inspiration, such as Hippocrené, Castalia, etc.; then goddesses of song in general; and afterwards the representatives of the various kinds of poetry, arts, and sciences. In Homer, who now speaks of one, and now of many Muses, but without specifying their number or their names, they are considered goddesses dwelling in Olympus, who at the meals of the gods sing sweetly to the lyre of Apollo, inspire the poet and prompt his song. Hesiod (Theog. 52-76) calls them the nine daughters of Zeus and Mnemosyné, born in Pieria, and mentions their names, to which we shall at the same time add the province and the attributes afterwards assigned to each. (1) Calliope (she of the fair voice), in Hesiod the noblest of all, the Muse of epic song; among her attributes are a wax tablet and a pencil.

(2) Clio (she that extols), the Muse of history; with a scroll.

(3) Euterpe (she that gladdens), the Muse of lyric song; with the double flute.

(4) Thalia (she that flourishes), the Muse of comedy and bucolic poetry; with the comic mask, the ivy wreath, and the shepherd's staff.

(5) Melpomene (she that sings), the Muse of tragedy; with tragic mask, ivy wreath, and occasionally with attributes of individual heroes— e. g. the club, the sword.

(6) Terpsichore (she that rejoices in the dance), the Muse of dancing; with the lyre.

(7) Erato (the lovely one), the Muse of erotic poetry; with a smaller lyre.

(8) Polymnia or Polyhymnia (she that is rich in hymns), the Muse of serious sacred songs; usually represented as veiled and pensive.

(9) Urania (the heavenly), the Muse of astronomy; with the celestial globe. See the separate articles on the Muses.

Three older Muses were sometimes distinguished from these. Meleté (Meditation), Mnemé (Remembrance), Aoidé (Song), whose worship was said to have been introduced by the Aloadae, Otus and Ephialtes, near Mount Helicon. Thracian settlers in the Pierian district at the foot of Olympus and of Helicon in Boeotia are usually mentioned as the original founders of this worship. At both these places were their oldest sanctuaries. According to the general belief, the favourite haunts of the Muses were certain springs, near which temples and statues had been erected in their honour: Castalia, at the foot of Mount Parnassus, and Aganippé and Hippocrené, on Helicon, near the towns of Ascra and Thespiae. After the decline of Ascra, the inhabitants of Thespiae attended to the worship of the Muses and to the arrangements for the musical contests in their honour that took place once in five years. They were also adored in many other places in Greece. Thus the Athenians offered them sacrifices in the schools, while the Spartans did so before battle. As the inspiring nymphs of springs they were early connected with Dionysus; the god of poets, Apollo, is looked on as their leader (Μουσαγέτης), with whom they share the knowledge of past, present, and future. As beings that gladden men and gods with their song, Hesiod describes them as dwelling on Olympus along with the Charites and Himeros. They were represented in art as virgin goddesses with long garments of many folds, and frequently with a cloak besides; they were not distinguished by special attributes till comparatively later times. See Die Musen in der antiken Kunst (Berlin, 1887).

The Roman poets identified them with the Italian Camenae, prophetic nymphs of springs and goddesses of birth, who had a grove at Rome outside the Porta Capena. (See Egeria.) The Greeks gave the title of Muses to their nine most distinguished poetesses: Praxilla, Moero , Anyte, Erinna, Telesilla, Corinna, Nossis, Myrtis, and Sappho.