Classical compass winds local reference to a seaborne breeze. Vitruvius's 24-wind list does not seem to have impressed later Roman writers (Seneca, Pliny, etc.), who all went back to 12- or 8-wind systems. Vitruvius's treatment has a touch of carelessness. He does not bother assigning Latin-to-Greek equivalents, give variants or provide any descriptions of the winds. It seems as if he is merely making a long list of all the wind names he has heard, giving each their own separate position in a single system, regardless of duplication. The shifts of some old Greek winds (Boreas, Eurus, Argestes, Leuconotos) into non-traditional positions (sometimes
Greek mythology was their sexual companion, to every important god except Ares and to many legendary figures. Previously existing myths, such as those of Achilles and Patroclus, also then were cast in a pederastic light. Alexandrian poets at first, then more generally literary mythographers in the early Roman Empire, often re-adapted stories of Greek mythological characters in this fashion. The achievement of epic poetry was to create story-cycles and, as a result, to develop a new sense of mythological chronology. Thus Greek mythology unfolds as a phase in the development of the world and of humans. While self-contradictions in these stories make