9.29.1 Such is the truth about these things. The first to sacrifice on Helicon to the Muses and to call the mountain sacred to the Muses were, they say, Ephialtes and Otos, who also founded Ascra. To this also Hegesinos alludes in his poem Atthis:

9.29.2 This poem of Hegesinos I have not read, for it was no longer extant when I was born. But Kallippos of Corinth in his history of Orkhomenos uses the verses of Hegesinos as evidence in support of his own views, and I too have done likewise, using the quotation of Kallippos himself. Of Ascra in my day nothing memorable was left except one tower. The sons of Aloeus held that the Muses were three in number, and gave them the names of Meletē ‘Practice’, Mnēmē ‘Memory’, and Aoidē ‘Song’.

9.29.3 But they say that afterwards Pieros, a man from Macedon, after whom the mountain in Macedonia was named, came to Thespiai and established nine Muses, changing their names to the present ones. Pieros was of this opinion either because it seemed to him wiser, or because an oracle so ordered, or having so learned from one of the Thracians. For the people [ethnos] of Thrace had the reputation of old of being more adept [dexion] than the people [ethnos] of Macedon, and in particular of being not so careless in matters having-to-do-with-the-gods [theia].

9.29.4 There are some who say that Pieros himself had nine daughters, that their names were the same as those of the goddesses, and that those whom the Greeks called the children of the Muses were sons of the daughters of Pieros. Mimnermus, who composed elegiac verses about the battle between the people of Smyrna and the people of Lydia during the reign of Gyges, says in his prelude [prooímion] that the elder Muses are daughters of Ouranos, and that there are other and younger Muses, children of Zeus.

9.29.5 On Helicon, on the left as you go to the grove of the Muses, is the spring Aganippe; they say that Aganippe was a daughter of the Termessus, which flows round Helicon. As you go along the straight road to the grove is a portrait of Eupheme carved in relief on a stone. She was, they say, the nurse of the Muses.

9.29.6 So her portrait is here, and after it is Linos on a small rock worked into the shape of a cave. To Linos every year they sacrifice as to a hero before they sacrifice to the Muses. It is said that this Linos was a son of Ourania and Amphimaros, a son of Poseidon, that he won a reputation for the art-of-the-Muses [mousikē] greater than that of any contemporary or predecessor, and that Apollo killed him for being his rival in singing.

9.29.7 On the death of Linos, mourning for him spread, it seems, to all the barbarian world, so that even among the Egyptians there came to be a Linos song, in the Egyptian language called Maneros. Of the Greek poets, Homer shows that he knew that the sufferings of Linos were the theme of a Greek song when he says that Hephaistos, among the other scenes he worked upon the shield of Achilles, represented a boy harpist singing the Linos song:

9.29.8 Pamphos, who composed the oldest Athenian hymns, called him Oitolinos (Linos doomed) at the time when the mourning for Linos was at its height. Sappho of Lesbos, who learned the name of Oitolinos from the epic poetry of Pamphos, sang of both Adonis and Oitolinos together. The Thebans assert that Linos was buried among them, and that after the Greek defeat at Khaironeia, Philip the son of Amyntas, in obedience to a vision in a dream, took up the bones of Linos and conveyed them to Macedonia;

9.29.9 other visions induced him to send the bones of Linos back to Thebes. But all that was over the tomb, and whatever marks were on it, vanished, they say, with the lapse of time. Other tales are told by the Thebans, how later than this Linos there was born another, called the son of Ismenios, a teacher of music, and how Hēraklēs, while still a child, killed him. But hexameter poetry was written neither by Linos the son of Amphimarus nor by the later Linos; or if it was, it has not survived for posterity.