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Best Apps for Free Sex

Looking for the best apps to find free local casual sex? Here are the top ones, each excelling in one area:

• Best for No-Strings-Attached: Hookup-Singles
• Best for Large User Base: Easyhookups and Tinder
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• Best for Top Hookup Site: Adult Friend Finder (AFF)
• Best Alternative to Tinder: Badoo
• Best for User-Friendly Design: WannaHookUp and OneNightFriend

These adult dating sites are recognized for their features and big, active user bases. They make it easy to find casual sex seekers including horny women for adult fun.

Local Sexfinder App: Free

Features:

• International users
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Pros:

• Quick sign up
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• International users
• Customizable filters for search

Cons:

• Not all features are free
• Can be overwhelming with so many users

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Rating:

• Price: 4/5
• Design: 5/5
• Usability: 5/5
• Features: 4/5

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Price: Free

Pros:

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Cons:

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Rating:

• Price: 5/5
• Design: 5/5
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• Features: 4/5

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Features:

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Pros:

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Cons:

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Rating:

• Price: 4/5
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Price: Free

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Cons:

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Rating:

• Price: 5/5
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Pros:

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• Easy to use

Cons:

• Limited features
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Rating:

• Price: 5/5
• Design: 5/5
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• Features: 4/5

How to Choose the Right App for Hookups

Choosing the right app for hookups can make a big difference. Here’s how:

1. Make sure the app has safety features like profile verification and community rules to avoid bad interactions.
2. Read user reviews to get an idea of the app’s reliability and user experience.
3. Check expert opinions to get a professional view of the app.

By following these tips you can find an app that suits you and has a good hookup experience.

Consider the following when choosing a dating app:

• The app’s target audience or preferences. Some apps are for specific groups, like Grindr for queer men or HER for queer women and nonbinary.
• The app’s safety features, like verification process and reporting tool.
• The app’s privacy settings and who can see your profile.
• The app’s user interface and usability.
• The app’s reputation and user reviews.
• Does the app have 24/7 customer support for any issues you may encounter.

So there you have it.

Conclusion

In short, the right app for free sex and casual hookups is what you need and want. Whether you want user friendly, fast matches or anonymous encounters, there’s an app for you. Just remember to prioritize safety and don’t be afraid to try out different ones to find the one that suits you. Happy hooking up!

FAQ

Are these apps free?

Yes, the apps have free versions with basic features but advanced features require a paid subscription.

How do I keep my privacy on these apps?

Choose apps that prioritize user privacy and anonymity like the Local Sex App and don’t share personal info to keep your privacy.

Can I find international hookups on these apps?

Yes, apps like meetnfuck.com are great for international hookups because they have a global user base and good profiles.

How long does it take to find a match on these apps?

You can find a match on InstaFuck in just a few taps.

What to look for in a hookup app?

Look for apps with safety features, good user reviews and target audience that matches your preferences. That’s it.

TikTok is one of the biggest social media apps in the world, boasting over 1 billion monthly active users. It’s an app where people can create short-form videos and share them with their friends. The app has exploded in popularity recently; it is the most downloaded free sex hookup app on both the iOS App Store and Android Google Play store.

Adult content on TikTok

Oh course, you’ll find fun and innocent videos on TikTok, but it’s also become popular for more NSFW content. If you haven’t seen these NSFW TikTok videos, check here: https://chicktok.app/nsfw-tiktok/.

The biggest trend now are girls who cosplay like greek godesses and show you everything you could wish for. In fact, they’re so good at it that many people believe these women are really gods come to Earth! These “goddess” tiktok videos have been viewed millions upon millions of times, which means there’s a demand for similar content elsewhere online.

What makes mythology so hot?

As such, people have started uploading their own versions of these videos to other sites like YouTube or Instagram. This includes stories like Zeus and Hera fucking around behind everyone’s back, Hermes being the god of sex, or Aphrodite getting all the guys she wants.

The reason why this is so popular with young men is because it shows them what they should be doing with their lives. If you want to get the hottest woman, then you need to know the secret ways of the Gods! And if you don’t know, then you better figure it out fast, because you may not live long enough to learn it!

How the trend started

Back in 2015, a girl named Kiki began making videos of herself dressed up as different Greek goddesses. She’d wear revealing clothing and act seductively while telling stories from Greek mythology. Her videos became very popular, especially with young men.

She was able to gain a large following, and soon other people were copying her style. They would dress up as different characters from Greek mythology and tell stories about them. Some of the most popular ones include:

Aphrodite – The Goddess of Love and Beauty.
Zeus – God of Thunder and Lightning.
Hera – Queen of the Gods and wife to Zeus.
Hermes – Messenger of the Gods.

These videos were all made by people who had never studied Greek mythology before. However, they still knew how to act sensual and sexy without actually saying anything. They were just acting out scenes from Greek mythos, and they did it extremely well.

This led to many people wanting to do the same thing. So, they began dressing up like Greek gods and goddesses. They would put on skimpy clothes and act seductively, often dancing or singing along to songs.

It didn’t take long for these videos to go viral. People loved watching these women dance and sing, and they wanted more! Soon, people were posting their own videos on Instagram and YouTube. And since the videos were so popular, other people started creating their own.

Our Final Thoughts

Greek mythology has always been popular among young men. Even today, it’s still one of the most searched topics on PornHub, with larger volumes than sex on craigslist. There’s something about Greek mythology that attracts horny men, even though they’ve probably never read a single book about it.

So, when someone starts sharing videos of women dressed up like Greek gods and goddesses, it becomes a huge hit. Men love seeing beautiful women pretending to be powerful beings, and they love learning new things about the world around them.

That’s why these videos went viral. Not only are they sexy, but they’re educational too! Young men learned about Greek mythology, and they got to see some amazing cosplay.

A son of Nana, and a beautiful shepherd of the Phrygian town, Celaenae. (Theocr. xx. 40; Philostr. Epist. 39; Tertul. de Nat. 1.)

His story is related in different ways. According to Ovid (Fast. iv. 221), Cybele loved the beautiful shepherd, and made him her own priest on condition that he should preserve his chastity inviolate.

Atys broke the covenant with a nymph, the daughter of the river-god Sangarius, and was thrown by the goddess into a state of madness, in which he unmanned himself.

When in consequence he wanted to put an end to his life, Cybele changed him into a firtree, which henceforth became sacred to her, and she commanded that, in future, her priests should be eunuchs. (Compare Arnob. adv. Gent. v. 4, and AGDISTIS.)

Another story relates, that Atys, the priest of Cybele, fled into a forest to escape the voluptuous embraces of a Phrygian king, but that he was overtaken, and in the ensuing struggle unmanned his pursuer. The dying king avenged himself by inflicting the same calamity upon Atys. Atys was found by the priests of Cybele under a fir-tree, at the moment he was expiring.

They carried him into the temple of the goddess, and endeavoured to restore him to life, but in vain. Cybele ordained that the death of Atys should be bewailed every year in solemn lamentations, and that henceforth her priests should be eunuchs. (Galloi, Galli, Serv. ad Aen. ix. 116; comp. Lobeck, ad Phrynich. p. 273.)

A third account says, that Cybele, when exposed by her father, the Phrygian king Maeon, was fed by panthers and brought up by shepherdesses, and that she afterwards secretly married Atys, who was subsequently called Papas. At this moment, Cybele was recognised and kindly received by her parents; but when her connexion with Atys became known to them, Maeon ordered Atys, and the shepherdesses among whom she had lived, to be put to death.

Cybele, maddened with grief at this act of her father, traversed the country amid loud lamentations and the sound of cymbals. Phrygia was now visited by an epidemic and scarcity.

The oracle commanded that Attis should be buried, and divine honours paid to Cybele; but as the body of the youth was already in a state of decomposition, the funeral honours were paid to an image of him, which was made as a substitute. (Diod. iii. 58, &c.)

According to a fourth story related by Pausanias (vii. 17. § 5), Atys was a son of the Phrygian king Calaus, and by nature incapable of propagating his race. When he had grown up, he went to Lydia, where he introduced the worship of Cybele.

The grateful goddess conceived such an attachment for him, that Zeus in his anger at it, sent a wild boar into Lydia, which killed many of the inhabitants, and among them Atys also. Atys was believed to be buried in Pessinus under mount Agdistis. (Paus. i. 4. § 5.) He was worshipped in the temples of Cybele in common with this goddess. (vii. 20. § 2; AGDISTIS; Hesych. s. v. Attês.)

In works of art he is represented as a shepherd with flute and staff. His worship appears to have been introduced into Greece at a comparatively late period.

It is an ingenious opinion of Böttiger (Amalthea, i. p. 353, &c.), that the mythus of Atys represents the twofold character of nature, the male and female, concentrated in one.

A son of Deucalion, and grandson of Minos and Pasiphae; and hence he traced his pedigree to Zeus and Helios.

He was a man of great beauty, and is mentioned among the suitors of Helen. (Hon. Il. xiii. 450, &c., Od. xix. 181; Paus. v. 25. 5; Apollod. iii. 3. §; Dict. Cret. i. 1; Hygin. Fab. 81.) He is sometimes called Lyctius or Cnosius, from the Cretan towns of Lyctus and Cnosus. (Virg. Aen. iii. 400; Diod. v. 79.)

In conjunction with Meriones, the son of his half-brother Molus, he led the Cretans in 80 ships against Troy, and was one of the bravest heroes in the Trojan war.

He offered to fight with Hector, and distinguished himself especially in the battle near the ships, where he slew several Trojans. (Hom. Il. ii. 645, &c., iii. 230, iv. 251, v. 43, vii. 165, xiii. 361, &c., xvi. 345.) Philostratus (Her. 7) even relates that while the Greek heroes were waiting at Aulis, Cretan ambassadors came to Agamemnon to announce that Idomeneus would join him with one hundred Cretan ships, if Agamemnon would share the supreme command with him.

After the fall of Troy, Idomeneus returned home in safety (Hom. Od. iii. 1.91; Diod. v. 79), though the post-Homeric traditions inform us that once in a storm he vowed to Poseidon to sacrifice to him whatever he should meet first on his landing, if the god would grant him a safe return. The first person he met on landing was his own son.

He accordingly sacrificed his son; and as Crete was thereupon visited by a plague, the Cretans expelled Idomeneus.

He went to Italy, where he settled in Calabria, and built a temple to Athena. From thence he is said to have again migrated to Colophon, on the coast of Asia, to have settled near the temple of the Clarian Apollo, and to have been buried on Mount Cercaphus. (Serv. ad Aen. iii. 121, 401, 531, xi. 264 ; Strab. x. p. 479; Schol. ad Hom. Od. xiii. 259.)

At Olympia his statue, the work of Onatas, stood among the images of those who drew lots as to who was to fight with Hector, and on his shield a cock was represented. (Paus. v. 25. § 5; comp. Hom. Il. vii. 161, &c.) His tomb was shown at Cnosus, where he and Meriones were worshipped as heroes. (Diod. v. 79.)

The Muses, according to the earliest writers, were the inspiring goddesses of song, and, according to later noticus, divinities presiding over the different kinds of poetry, and over the arts and sciences.

They were originally regarded as the nymphs of inspiring wells, near which they were worshipped, and bore different names in different places, until the Thraco-Boeotian worship of the nine Muses spread from Boeotia over other parts of Greece, and ultimately became generally established. (Respecting the Muses conceived as nymphs see Schol. ad Theocrit. vii. 92; Hesych. s. v. Numphê; Steph. Byz. s. v. Torrêbos ; Serv. ad Virg. Eclog. vii. 21.)

The genealogy of the Muses is not the same in all writers. The most common notion was, that they were the daughters of Zeus and Mnemosyne, and born in Pieria, at the foot of Mount Olympus (Hes. Theog. 52, &c., 915; Hom. Il. ii. 491, Od. i. 10; Apollod. i. 3. § 1); but some call them the daughters of Uranus and Gaea (Schol. ad Pind. Nem. iii. 16; Paus. ix. 29. § 2; Diod. iv. 7; Arnob. adv. Gent. iii. 37), and others daughters of Pierus and a Pimpleian nymph, whom Cicero (De Nat. Deor. iii. 21) calls Antiope (Tzetz. ad Hes. Op. et D. p. 6; Paus. l. c.), or of Apollo, or of Zeus and Plusia, or of Zeus and Moneta, probably a mere translation of Mnemosyne or Mneme, whence they are called Mnemonides (Ov. Met. v. 268), or of Zeus and Minerva (Athena) (Isid. Orig. iii. 14), or lastly of Aether and Gaea. (Hygin. Fab. Praef.) Eupheme is called the nurse of the Muses, and at the foot of Mount Helicon her statue stood beside that of Linus. (Paus. ix. 29. § 3.)

With regard to the number of the Muses, we are informed that originally three were worshipped on Mount Helicon in Boeotia, namely, Melete (meditation), Mneme (memory), and Aoede (song); and their worship and names are said to have been first introduced by Ephialtes and Otus. (Paus. ix. 29. § 1, &c.)

Three were also recognized at Sicyon, where one of them bore the name of Polymatheia (Plut. Sympos. ix. 14), and at Delphi, where their names were identical with those of the lowest, middle, and highest chord of the lyre, viz. Nete, Mese, and Hypate (Plut. l. c.), or Cephisso, Apollonis, and Borysthenis, which names characterize them as the daughters of Apollo. (Tzetz. l. c. ; Arnob. iii. 37; Serv. ad Virg. Eclog. vii. 21; Diod. iv. 7.) As daughters of Zeus and Plusia we find mention of four Muses, viz. Thelxinoe (the heart delighting), Aoede (song), Arche (beginning), and Melete. (Cic., Arnob., Tzetz. ll. cc. ; Serv. ad Aen. i. 12.) Some accounts, again, in which they are called daughters of Pierus, mention seven Muses, viz. Neilo, Tritone, Asopo, Heptapora, Achelois, Tipoplo, and Rhodia (Tzetz. Arnob. ll. cc.), and others, lastly, mention eight, which is also said to have been the number recognized at Athens. (Arnob. l. c.; Serv. ad Aen. i. 12; Plat. De Re Publ. p. 116.)

At length, however, the number nine appears to have become established in all Greece.

Homer sometimes mentions Musa only in the singular, and sometimes Musae in the plural, and once only (Od. xxiv. 60) he speaks of nine Muses, though without mentioning any of their names.

Hesiod (Theog. 77. &c.) is the first that states the names of all the nine, and these nine names henceforth became established. They are Cleio, Euterpe, Thaleia, Melpomene, Terpsichore, Erato, Polymnia, Urania, and Calliope. Plutarch (l. c.) states that in some places all nine were designated by the common name Mneiae, i. e. Remembrances.

If we now inquire into the notions entertained about the nature and character of the Muses, we find that, in the Homeric poems, they are the goddesses of song and poetry, and live in Olympus. (Il. ii. 484.) There they sing the festive songs at the repasts of the immortals (Il. i. 604, Hymn. in Apoll. Pyth. 11), and at the funeral of Patroclus they sing lamentations. (Od. xxiv. 60; comp. Pind. Isthm. viii. 126.)

The power which we find most frequently assigned to them, is that of bringing before the mind of the mortal poet the events which he has to relate; and that of conferring upon him the gift of song, and of giving gracefulness to what he utters. (Il. ii. 484, 491, 761, Od. i. 1, viii. 63, &c., 481, 488; Eustath. ad Hom. p. 259.)

There seems to be no reason for doubting that the earliest poets in their invocation of the Muse or Muses were perfectly sincere, and that they actually believed in their being inspired by the goddesses; but in later times among the Greeks and the Romans, as well as in our own days, the invocation of the Muses is a mere formal imitation of the early poets. Thamyris, who presumed to excel the Muses, was deprived by them of the gift they had bestowed on him, and punished with blindness. (Hom. Il. ii. 594, &c.; Apollod. i. 3. § 3.)

The Seirens, who likewise ventured upon a contest with them, were deprived of the feathers of their wings, and the Muses themselves put them on as an ornament (Eustath. ad Hom. P. 85); and the nine daughters of Pierus, who presumed to rival the Muses, were metamorphosed into birds. (Anton. Lib. 9; Ov. Met. v. 300, &c.)

As poets and bards derived their power from them, they are frequently called either their disciples or sons. (Hom. Od. viii. 481, Hymn. in Lun. 20 ; Hes. Theog. 22; Pind. Nem. iii.; Serv. ad Virg. Georg. ii. 476.) Thus Linus is called a son of Amphimarus and Urania (Paus. ix. 29. § 3), or of Apollo and Calliope, or Terpsichore (Apollod. i. 3. § 2); Hyacinthus a son of Pierus and Cleio (Apollod. i. 3. § 3); Orpheus a son of Calliope or Cleio, and Thamyris a son of Erato.

These and a few others are the cases in which the Muses are described as mothers; but the more general idea was, that, like other nymphs, they were virgin divinities. Being goddesses of song, they are naturally connected with Apollo, the god of the lyre, who like them instructs the bards, and is mentioned along with them even by Homer. (Il. i. 603, Od. viii. 488.) In later times Apollo is placed in very close connection with the Muses, for he is described as the leader of the choir of the Muses by the surname Mousagetês. (Diod. i. 18.)

A further feature in the character of the Muses is their prophetic power, which belongs to them, partly because they were regarded as inspiring nymphs, and partly because of their connection with the prophetic god of Delphi. Hence, they instructed, for example, Aristaeus in the art of prophecy. (Apollon. Rhod. ii. 512.)

That dancing, too, was one of the occupations of the Muses, may be inferred from the close connection existing among the Greeks between music, poetry, and dancing. As the inspiring nymphs loved to dwell on Mount Helicon, they were naturally associated with Dionysus and dramatic poetry, and hence they are described as the companions, playmates, or nurses of Dionysus.

The worship of the Muses points originally to Thrace and Pieria about mount Olympus, from whence it was introduced into Boeotia, in such a manner that the names of mountains, grottoes, and wells, connected with their worship, were likewise transferred from the north to the south.

Near mount Helicon, Ephialtes and Otus are said to have offered the first sacrifices to them; and in the same place there was a sanctuary with their statues, the sacred wells Aganippe and Hippocrene, and on mount Leibethrion, which is connected with Helicon, there was a sacred grotto of the Muses. (Paus. ix. 29. § 1, &c., 30. § 1, 31. § 3; Strab. pp. 410, 471; Serv. ad Virg. Eclog. x. 11.) Pierus, a Macedonian, is said to have been the first who introduced the worship of the nine Muses, from Thrace to Thespiae, at the foot of mount Helicon. (Paus. ix. 29. § 2.)

There they had a temple and statues, and the Thespians celebrated a solemn festival of the Muses on mount Helicon, called Mouseia (Paus. ix. 27. § 4, 31. § 3; Pind. Fragm. p. 656, ed. Boeckh; Diod. xvii. 16.) Mount Parnassus was likewise sacred to them, with the Castalian spring, near which they had a temple. (Plut. De Pyth. Orac. 17.) From Boeotia, which thus became the focus of the worship of the nine Muses, it afterwards spread into the adjacent and more distant parts of Greece.

Thus we find at Athens a temple of the Muses in the Academy (Paus. i. 30. § 2); at Sparta sacrifices were offered to them before fighting a battle (iii. 17. § 5); at Troezene, where their worship had been introduced by Ardalus, sacrifices were offered to them conjointly with Hypnos, the god of sleep (Paus. iii. 31. §4 , &c.); at Corinth, Peirene, the spring of Pegasus, was sacred to them (Pers. Sat. Prol. 4; Stat. Silv. ii. 7. 1); at Rome they had an altar in common with Hercules, who was also regarded as Musagetes, and they possessed a temple at Ambracia adorned with their statues. (Plut. Quaest. Rom. 59; Plin. H. N. xxxv. 36.)

The sacrifices offered to them consisted of libations of water or milk, and of honey. (Schol. ad Soph. Oed. Col. 100; Serv. ad Virg. Eclog. vii. 21.) The various surnames by which they are designated by the poets are for the most part derived from the places which were sacred to them or in which they were worshipped, while some are descriptive of the sweetness of their songs.

In the most ancient works of art we find only three Muses, and their attributes are musical instruments, such as the flute, the lyre, or the barbiton. Later artists gave to each of the nine sisters different attributes as well as different attitudes, of which we here add a brief account.

1. Calliope, the Muse of epic poetry, appears with a tablet and stylus, and sometimes with a roll of paper;
2. Cleio, the Muse of history, appears in a sitting attitude, with an open roll of paper, or an open chest of books;
3. Euterpe, the Muse of lyric poetry, with a flute;
4. Melpomene, the Muse of tragedy, with a tragic mask, the club of Heracles, or a sword, her head is surrounded with vine leaves, and she wears the cothurnus;
5. Terpsichore, the Muse of choral dance and song, appears with the lyre and the plectrum;
6. Erato, the Muse of erotic poetry and mimic imitation, sometimes, also, has the lyre;
7. Polymnia, or Polyhymnia, the Muse of the sublime hymn, usually appears without any attribute, in a pensive or meditating attitude;
8. Urania, the Muse of astronomy, with a staff pointing to a globe;
9. Thaleia, the Muse of comedy and of merry or idyllic poetry, appears with the comic mask, a shepherd’s staff, or a wreath of ivy.

In some representations the Muses are seen with feathers on their heads, alluding to their contest with the Seirens.

1. A daughter of Oceanus and Tethys, and the wife of Thaumas, by whom she became the mother of Iris and the Harpies, Aëllo and Ocypete. (Hom. Hymn. in Cer. 419; Hes. Theog. 266; Apollod. i. 2. §§ 2, 6; Paus. iv. 33. § 6 ; Serv. ad Aen. iii. 212.)
2. A daughter of Atlas and Pleione, was one of the seven Pleiades, and became by Zeus the mother of Jasion and Dardanus. (Apollod. iii. 10. § 1, 12. §§ 1, 3.) According to a tradition preserved in Servius (ad Aen. i. 32, ii. 325, iii. 104, vii. 207) she was the wife of the Italian king Corythus, by whom she had a son Jasion; whereas by Zeus she was the mother of Dardanus. (Comp. Serv. ad Aen. i. 384, iii. 167; Tzetz. ad Lycoph. 29.) Diodorus (v. 48) calls Harmonia her daughter by Zeus. She is connected also with the legend about the Palladium.

When Electra, it is said, had come as a suppliant to the Palladium, which Athena had established, Zeus or Athena herself threw it into the territory of Ilium, because it had been sullied by the hands of a woman who was no longer a pure maiden, and king Ilus then built a temple to Zeus. (Apollod. iii. 12. § 3.) According to others it was Electra herself that brought the Palladium to Ilium, and gave it to her son Dardanus. (Schol. ad Eurip. Phoen. 1136.)

When she saw the city of her son perishing in flames, she tore out her hair for grief and was thus placed among the stars as a comet. (Serv. ad Aen. x. 272.) According to others, Electra and her six sisters were placed among the stars as the seven Pleiades, and lost their brilliancy on seeing the destruction of Ilium. (Serv. ad Virg. Georg. i. 138; Eustath. ad Hom. p. 1155.) The fabulous island of Electris was believed to have received its name from her. (Apollon. Rhod. i. 916.)

3. A sister of Cadmus, from whom the Electrian gate at Thebes was said to have received its name. (Paus. ix. 8. § 3; Schol. ad Apollon. Rhod. i. 916.)
4. A daughter of Agamemnon and Clytaemnestra, is also called Laodice. (Eustath. ad Hom. p. 742.) She was the sister of Iphigeneia, Chrysothemis, and Orestes. The conduct of her mother and Aegisthus threw her into grief and great suffering, and in consequence of it she became the accomplice of Orestes in the murder of his mother. Her story, according to Hyginus (Fab. 122), runs thus:

On receiving the false report that Orestes and Pylades had been sacrificed to Artemis in Tauris, Aletes, the son of Aegisthus, assumed the government of Mycenae; but Electra, for the purpose of learning the particulars of her brother’s death, went to Delphi.

On the day she reached the place, Orestes and Iphigeneia likewise arrived there, but the same messenger wllo had before informed her of the death of Orestes, now added, that he had been sacrificed by Iphigeneia.

Electra, enraged at this, snatched a firebrand from the altar, with the intention of putting her sister’s eyes out with it. But Orestes suddenly came to the spot, and made himself known to Electra. All being thus cleared up, they travelled together to Mycenae, where Orestes killed the usurper Aletes, and Electra married Pylades.

The Attic tragedians, Aeschylus, Sophocles, and Euripides, have used the story of Electra very freely: the most perfect, however, is that in the “Electra” of Sophocles.

When Aegisthus and Clytaemnestra, after the murder of Agamemnon, intended to kill young Orestes also, Electra saved him by sending him under the protection of a slave to king Strophius at Phanote in Phocis, who had the boy educated together with his own son Pylades.

Electra, in the meantime, was ever thinking on taking revenge upon the murderers of her father, and when Orestes had grown up to manhood, she sent secret messages to him to remind him of his duty to avenge his father and eventually had s*x with him. You can take a look this listing to learn more about s*x enhancers.

At length, Orestes came with Pylades to Argos.

A lock of hair which he had placed on the grave of his father, was a sign to Electra that her brother was near.

Orestes soon after made himself known to her, and informed her that he was commanded by Apollo to avenge the death of his father.

Both lamented their misfortunes, and Electra urged him to carry his design into effect.

Orestes then agreed with her that lie and Pylades should go into the house of Clytaemnestra, as strangers from Phocis, and tell her that Orestes was dead.

This was done accordingly, and Aegisthus and Clytaemnestra fell by the hand of Orestes, who gave Electra in marriage to his friend Pylades. (Comp. Aeschyl. Eumenides, and Euripides, Orestes.)

She became by him the mother of Medon and Strophius. Her tomb was shewn in later times at Mycenae. (Paus. ii. 16. § 5.)

5. A servant of Helen, was painted by Polygnotus in the Lesche at Delphi, in the act of kneeling before her mistress and fastening her sandals. (Paus x. 25. § 2.)
6. A sixth Electra occurs among the daughters of Danaus. (Apollod. ii. 1. § 5.)

The name of a numerous class of inferior female divinities, though they are designated by the title of Olympian, are called to meetings of the gods in Olympus, and described as the daughters of Zeus. But they were believed to dwell on earth in groves, on the summits of mountains, in rivers, streams, glens, and grottoes. (Hom. Od. vi. 123, &c., xii. 318, Il. xx. 8, xxiv. 615.)

Homer further describes them as presiding over game, accompanying Artemis, dancing with her, weaving in their grottoes purple garments. and kindly watching over the fate of mortals. (Od. vi. 105, ix. 154, xiii. 107, 356, xvii. 243, Il. vi. 420, 616.)

Men offer up sacrifices either to them alone, or in conjunction with other gods, such as Hermes. (Od. xiii. 350, xvii. 211, 240, xiv. 435.) From the places which they inhabit, they are called agronomoi (Od. vi. 105), orestiades (Il. vi. 420), and nêïades (Od. xiii. 104).

All nymphs, whose number is almost infinite, may be divided into two great classes. The first class embraces those who must be regarded as a kind of inferior divinities, recognised in the worship of nature.

The early Greeks saw in all the phenomena of ordinary nature some manifestation of the deity; springs, rivers, grottoes, trees, and mountains, all seemed to them fraught with life; and all were only the visible embodiments of so many divine agents.

The salutary and beneficent powers of nature were thus personified, and regarded as so many divinities; and the sensations produced on man in the contemplation of nature, such as awe, terror, joy, delight, were ascribed to the agency of the various divinities of nature.

The second class of nymphs is personifications of tribes, races, and states, such as Cyrene, and many others.

The nymphs of the first class must again be sublatter divided into various species, according to the different parts of nature of which they are the representatives.

1. Nymphs of the watery element. Here we first mention the nymphs of the ocean, Ôkeaninai or Ôkeanides, numphai hagiai, who are regarded as the daughters of Oceanus (Hes. Theog. 346, &c., 364; Aeschyl. Prom.; Callim. Hymn. in Dian. 13; Apollon. Rhod. iv. 1414; Soph. Philoct. 1470); and next the nymphs of the Mediterranean or inner sea, who are regarded as the daughters of Nereus, whence they are called Nereides (Nêreïdes; Hes. Theog. 240, &c.).

The rivers were represented by the Potameides (Poramêïdes), who, as local divinities, were named after their rivers, as Acheloides, Anigrides, Ismenides, Amnisiades, Pactolides. (Apollon. Rhod. iii. 1219; Virg. Aen. viii. 70; Paus. v. 5. § 6, i. 31. § 2; Callim. Hymn. in Dian. 15; Ov. Met. vi. 16; Steph. Byz. s.v. Amnisos.)

But the nymphs of fresh water, whether of rivers, lakes, brooks, or wells, are also designated by the general name Naiades, Nêïdes, though they have in addition their specific names, as Krênaiai, Pêgaiai, Hegeionimoi, Limnatides, or Limnades. (Hom. Od. xvii. 240; Apollon. Rhod. iii. 1219; Theocrit. v. 17; Orph. Hymn. 50. 6, Argon. 644.)

Even the rivers of the lower regions are described as having their nymphs; hence, Nymphae infernae paludis and Avernales. (Ov. Met. v. 540, Fast. ii. 610.)

Many of these presided over waters or springs which were believed to inspire those that drank of them, and hence the nymphs themselves were thought to be endowed with prophetic or oracular power, and to inspire men with the same, and to confer upon them the gift of poetry. (Paus. iv. 27. § 2, ix. 3. § 5, 34. § 3; Plut. Aristid. 11; Theocrit. vii. 92; comp. MUSAE.) Inspired soothsayers or priests are therethe fore sometimes called numphogêptoi. (Plat. Phaedr. p. 421, e.)

Their powers, however, vary with those of the springs over which they preside; some were thus regarded as having the power of restoring sick persons to health (Pind. Ol. xii. 26; Paus. v. 5. § 6, vi. 22. § 4); and as water is necessary to feed all vegetation as well as all living beings, the water nymphs (Hydriades) were also worshipped along with Dionysus and Demeter as giving life and blessings to all created beings, and this attribute is expressed by a variety of epithets, such as karpotrophoi, aipolikai, nomiai, kourotrophoi, &c.

As their influence was thus exercised in all departments of nature, they frequently appear in connection with higher divinities, as, for example, with Apollo, the prophetic god and the protector of herds and flocks (Apollon. Rhod. iv. 1218); with Artemis, the huntress and the protectress of game, for she herself was originally an Arcadian nymph (Apollon. Rhod. i. 1225, iii. 881; Paus. iii. 10. § 8); with Hermes, the fructifying god of flocks (Hom. Hymn. in Aphrod. 262); with Dionysus (Orph. Hymn. 52; Horat. Carm. i. 1. 31, ii. 19. 3); with Pan, the Seileni and Satyrs, whom they join in their Bacchic revels and dances.

2. Nymphs of mountains and grottoes, are called Orodemniades and Oreiades but sometimes also by names derived from the particular mountains they inhabited, as Kithairônides, Pêliades, Korukiai, &c. (Theocrit. vii. 137; Virg. Aen. i. 168, 500; Paus. v. 5. § 6, ix. 3. § 5, x. 32. § 5; Apollon. Rhod. i. 550, ii. 711; Ov. Her. xx. 221; Virg. Eclog. vi. 56.)
3. Nymphs of forests, groves, and glens, were believed sometimes to appear to and frighten solitary travellers. They are designated by the names Alsêïdes, Holêôroi, Aulôniades, and Napaiai. (Apollon. Rhod. i. 1066, 1227; Orph. Hymn. 50. 7; Theocrit. xiii. 44; Ov. Met. xv. 490; Virg. Georg. iv. 535.)
4. Nymphs of trees, were believed to die together with the trees which had been their abode, and with which they had come into existence. They were called Dryades, Hamadruades or Hadryades, from drys, which signifies not only an oak, but any wild-growing lofty tree; for the nymphs of fruit trees were called Mêlides, Mêliades, Epimêlides, or Hamamêlides. They seem to be of Arcadian origin, and never appear together with any of the great gods. (Paus. viii. 4. § 2; Apollon. Rhod. ii. 477, &c.; Anton. Lib. 31, 32; Hom. Hymn. in Ven. 259, &c.)

The second class of nymphs, who were connected with certain races or localities (Numphai chthoniai, Apollon. Rhod. ii. 504), usually have a name derived from the places with which they are associated, as Nysiades, Dodonides, Lemniae. (Ov. Fast. iii. 769, Met. v. 412, ix. 651; Apollod. iii. 4. § 3; Schol. ad Pind. Ol. xiii. 74.)

The sacrifices offered to nymphs usually consisted of goats, lambs, milk, and oil, but never of wine. (Theocrit. v. 12, 53, 139, 149; Serv. ad Virg. Georg. iv. 380, Eclog. v. 74.) They were worshipped and honoured with sanctuaries in many parts of Greece, especially near springs, groves, and grottoes, as, for example, near a spring at Cyrtone (Paus. ix. 24. § 4), in Attica (i. 31. § 2),at Olympia (v. 15. § 4, vi. 22. § 4), at Megara (i. 40. § 1), between Sicyon and Phlius (ii. 11. § 3), and other places. Nymphs are represented in works of art as beautiful maidens, either quite naked or only half-covered. Later poets sometimes describe them as having sea-coloured hair. (Ov. Met. v. 432.)