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Talos
Talos
Talos
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Winged "ΤΑΛΩΝ" armed with a stone. Obverse of silver didrachma from Phaistos, Crete (c. 300/280–270 BC) (Cabinet des Médailles, Paris)

In Greek mythology, Talos, also spelled Talus (/ˈteɪlɒs/;[1] Greek: Τάλως, Tálōs) or Talon (/ˈteɪlɒn, ən/; Greek: Τάλων, Tálōn), was a man of bronze who protected Crete from pirates and invaders. Despite the popular idea that he was a giant, no ancient source states this explicitly.[2]

Narrative

[edit]

Different literary sources provide a wide variety of accounts of Talos' role and genealogy. The most popular variant of the myth of Talos is that found in the Argonautica of Apollonius of Rhodes (fl. first half of 3rd century BCE). In this account, Talos is described as being a descendant of the bronze race (χαλκοῦ γένους) who sprang from ash-trees. He is described as being bronze and also invulnerable with the exception of a vein in his ankle which was protected by only a thin layer of skin.

He was given to Europa by Zeus in order to protect Crete, which he does by running around the island three times.[3] The Argonauts encounter him on their return voyage after obtaining the Golden Fleece. As the Argo approached Crete, Talos kept them at bay by hurling great boulders at the ship. Medea then declares that only she will be able to defeat Talos, which she does by performing a feat of magic from the Argo. Summoning the keres (female death-spirits), Medea causes Talos to graze his ankle, leading to the ichor draining from his body, and thus killing him. In describing his death Apollonius employs a metaphor comparing Talos to a 'monstrous pine tree' (πελωρίη πεύκη, pelōriē peukē) being felled, which could be taken to imply a larger-than-human size.[4]

A red figure Column Krater showing Talos falling backwards into the arms of Castor and Pollux while a crouching male figure tampers with a small nail-like circle on Talos' ankle.
The Death of Talos depicted on a column krater (Museo Archeologico Nazionale del Sannio Caudino, Montesarchio)

Pseudo-Apollodorus collected several traditions regarding the origin, form, and death of Talos. In relation to his origin, two theories are given: either he belonged to the Race of Bronze, or he had been given to Minos by Hephaestus (no reason is given). Another two theories are provided regarding his form: he was either a bull or a bronze man. Pseudo-Apollodorus further states that Talos guarded Crete by running around the island three times daily and that he had a single vein running from his neck to his ankles, which was stopped with a bronze nail at the end.[5]

Pseudo-Apollodorus also gives three variants regarding his death. The first two are at the hands of Medea: either she drove him mad with drugs, or, promising to making him immortal, she pulled the nail from his ankle, which caused the ichor to flow out. The final variant is that he was killed by the Argonaut Poeas, who shot an arrow into his ankle.[5]

Artistic sources

[edit]

Artistic sources linking Talos with the Argonauts significantly predate the account of Apollonius.[6] On three kraters from around 400 BCE, his death at the hands of the Argonauts is depicted. One red-figure vase, now in the Jatta National Archaeological Museum, is the name vase of the Talos Painter. It shows Talos falling backwards, into the arms of the Dioskouroi. In order to distinguish his form from that of the other figures on the vase, Talos is painted in white, with details painted in brown and yellow.[7] To the left stands Medea, holding a bowl, and looking across at Talos. Behind her is the Argo, with two more seated figures, inscribed as Zetes and Calais, whilst a third, unnamed figure, disembarks. To the right, the seated figures of Poseidon and Amphitrite look on. Below them a woman, identified by some as a representation of Crete, and by others as Europa, is shown fleeing from the scene.[7]

Another vase, from Caudium (modern Montesarchio), has been identified as depicting the death of Talos.[8][9] A bearded Talos, slightly larger than the other figures, falls to the right, into the arms of the Dioskouroi.[7] An unnamed youth kneels to the left, tightly holding an implement of some sort with which he is manipulating a small, circular object — potentially a nail — on Talos's ankle.[10] A woman stands behind the youth, bending down towards him. One arm is obscured, but in the other she holds a bowl.[7] Behind her stands another unnamed woman. Suggestions as to her identity include a representation of Crete as a nymph or an attendant of Medea's.[8][11] A small, winged, and bearded figure hovers next to Talos's ankle, gesturing closely to the site with the circular object. This figure is probably Thanatos.[11]

A third, fragmentary vase from Spina shows the same scene, with a very similar composition to the Motesarchio vase. Talos whose head and feet have not been preserved, is depicted in white, and is falling backwards into the arms of two men, most probably the Dioskouroi.[7] To his left a crouching female figure, mostly lost but labelled by an inscription as Medea, holds a blade in one hand and a box resting on her knee in the other.[7] To the right of Talos's lower leg is a small, winged, male figure, stretching his arms as if gesturing to Talos's ankle.[9] An unnamed female figure stands further to the right, but the head and torso are not preserved. The small figure and the unnamed female figure have sometimes been interpreted as Eros and Aphrodite but the winged figure is more probably Thanatos and the identification of Aphrodite is unlikely.[7][9]

Talos also appears on three coins from Phaistos dated to the Classical and early Hellenistic periods. He is depicted as a naked winged figure in the act of throwing a stone; on one coin there is a hound between his legs.[7] The wings have been interpreted by Richard Buxton as a visual representation of the speed which Talos would have to possess in order to rapidly circuit the island of Crete.[12]

Other variants

[edit]

Immolation of victims

[edit]

Discussing the origin of the phrase sardonios gelos (σαρδόνιος γέλως) – 'sardonic laugh' – both Photius in his Lexicon, and Zenobius in his Proverbs cite Simonides (c. 556-468 BCE) for a story which involves Talos.[13] Photius's summary of the account by Simonides is that some Sardinans refused to take Talos to king Minos of Crete, in response to which Talos grabbed them and jumped into some flames whilst holding them tight, killing them. Zenobius's summary states that Talos lived in Sardinia before going to Crete, and killed many of the inhabitants without mentioning how or why. Not enough remains to establish whether Simonides associated Talos with the Argonauts.[2]

Talos is also mentioned in two fragments relating to a lost Sophoclean drama, Daidalos, the plot of which in unknown.[14] The fragments indicate that in this source, too, Talos killed his victims by burning them.[14] Outside of Simonides and Sophocles, no other surviving source mentions this method of execution.[2]

Cretan lineage

[edit]

The death of Talos depicted on a Volute Krater circa 400 BCE (Jatta National Archaeological Museum in Ruvo di Puglia)

In a different tradition, Talos is the son of Cres, the personification of Crete. Hephaestus is his son, and Rhadamanthus – a mythical king of Crete – his grandson. This tradition is reported by Pausanias, who cites the poet Cinaethon of Sparta as his source.[15] Pausanias states at another point that Talos was one of the sons of Oenopion, without giving a source.[16] Pausanias gives no details of Talos outside of his genealogy.[4]

According to Athenaeus, the lyric poet Ibycus wrote of Rhadamanthus as the lover of Talos, rather than grandson.[17] The Suda, a Byzantine encyclopedia from the tenth-century CE, adds to this that Talos and Rhadamanthus introduced homosexuality to Crete.[18]

Rationalisation

[edit]

A euhemeristic interpretation of Talos is provided – along with many others – in the Minos, a dialogue which was attributed to Plato in antiquity, but which is regarded by most scholars today as being written by someone else.[19] In this source, Talos is rationalised as a man who guards the laws of Crete by travelling around the villages of the island three times per year at the behest of Minos, in order to show the inhabitants the laws of the city, which were inscribed on tablets of bronze.[20][10]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Talos

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In , Talos was a colossal , forged as a guardian to protect the island of from invaders and pirates by patrolling its shores and hurling massive boulders at approaching ships. Crafted by the divine smith , he was either a gift to King or to Europa, and in some accounts, represented the last survivor of a primordial race of beings created by the gods. Talos's mechanical form was impervious to weapons, sustained by a single vein running from his neck to his ankle, filled with the divine fluid and sealed by a nail or thin at the foot, serving as his sole vulnerability. His duties extended beyond mere defense; he circled the island three times daily. The most famous episode involving Talos occurs in the myth of , where the hero and his crew sought to claim the from ; the sorceress , aiding , exploited Talos's weakness by bewitching him to dislodge the protective nail, causing his to drain and leading to his collapse and death. Alternative versions describe Medea tricking him into removing the seal himself or the archer Poeas shooting an arrow at his ankle. These accounts, preserved in ancient texts such as Apollonius Rhodius's and Pseudo-Apollodorus's Bibliotheca, portray Talos as an early mythical embodiment of artificial guardianship, blending divine craftsmanship with themes of invulnerability and fatal flaw.

Mythological Origins

Etymology and Name

The name Talos (Ancient : Τάλως, Talōs) appears in ancient Greek literature with variations in spelling and form, reflecting dialectal differences and scribal conventions. In the Hellenistic epic by Apollonius Rhodius ( BCE), the figure is consistently rendered as Τάλως, emphasizing his role as a sentinel. Other ancient texts, such as those by and , use similar forms like Τάλος or Τάλων (Talōn), the latter evoking connotations of a "talon" or claw in Greek, possibly alluding to his destructive grasp on intruders. Etymological interpretations of Talos draw from several Greek roots, often tied to his depicted nature as a giant patrolling . One ancient gloss links the name to the Cretan dialectal word for "sun" (hēlios in standard ), as recorded in the lexicon of Hesychius of (5th–6th century CE), who simply states "Talos is the sun," suggesting a or radiant guardian aspect in local Minoan-influenced traditions. Alternative derivations connect Talos to verbs like ταλάσσω (talassō) or τλῆναι (tlēnai), meaning "to endure" or "to suffer," implying resilience fitting for an unyielding . A more recent scholarly proposal associates it with χαλκός (chalkos), "," aligning directly with his metallic composition and evoking the era's advanced . The name's potential links to artifacts and Minoan influences are evident in its Cretan context, where myths of Talos may echo prehistoric bronze statuettes or ritual guardians from the (ca. 3000–1100 BCE), symbolizing technological prowess in without implying direct historical figures. These etymologies highlight Talos as a linguistic bridge between solar , endurance, and craftsmanship in ancient Mediterranean lore.

Creation by Hephaestus

In , Talos was crafted by , the divine smith and god of metalworking, as an immense designed to function as an animated guardian figure. This creation is attributed to Hephaestus' unparalleled craftsmanship in forging living statues from metal, marking Talos as one of the earliest conceptualizations of an artificial being in ancient lore. According to ancient accounts, Hephaestus molded Talos entirely from , endowing him with the ability to move autonomously and perform tireless duties, thereby exemplifying the god's mastery over fire, forge, and mechanical invention. Variants in the mythological tradition describe Talos' commissioning differently: in one version preserved by , Hephaestus fashioned the giant specifically as a for King of , intended to bolster the island's defenses. Another tradition, echoed in scholia and later compilations, holds that ordered the from Hephaestus as a wedding present for his consort Europa upon her arrival in , symbolizing divine protection for the Phoenician princess. These narratives underscore Talos' role as a divine artifact, distinct from naturally born entities, and highlight Hephaestus' role in bridging the mortal and immortal realms through . A key attribute of Talos' construction was his internal "life system," consisting of a single or tube running from his neck down to his ankle, through which flowed —the ethereal fluid that sustained the gods rather than mortal blood. This was sealed at the ankle with a thin , nail, or plug, rendering Talos invulnerable except at that precise point; breaching it would cause the to drain, halting his animation. Apollonius Rhodius vividly describes this mechanism in his epic , noting how the removal of the seal led to the 's rapid outflow, likening it to the sap of a pine tree and emphasizing the automaton's engineered vitality. Such details portray Talos not merely as a but as a sophisticated construct with a simulated , vulnerable only due to its artisanal closure. Early sources link Talos to the "bronze race" of humanity outlined in Hesiod's (ca. 700 BCE), portraying him as the sole survivor or archetypal representative of this third generation of men, who were forged from ash trees and clad in bronze armor, embodying raw strength and martial prowess without the refinements of later ages. While does not name Talos explicitly, later interpreters, such as those in the scholia to the , identify the giant as emblematic of this race's indestructible yet ultimately doomed nature, attributing his origins to ' forge as a divine echo of that metallic lineage. This connection reinforces Talos' status as the quintessential bronze , blending mythological with themes of artificial endurance.

Role as Guardian

Patrol Duties in Crete

Talos, the giant guardian of , performed his primary duties by conducting a vigilant around the island's perimeter. According to ancient accounts, he circled Crete three times each day, traversing the coastline with tireless speed on his bronze feet to monitor for potential threats. This routine ensured comprehensive surveillance, allowing him to detect and repel any approaching vessels or intruders attempting to land. In fulfillment of his protective role, Talos deterred invaders by hurling massive boulders at ships nearing the shores, a tactic that effectively prevented unauthorized access to the island. Apollonius Rhodius describes this mechanical vigilance in his , portraying Talos as a divine gift from to Europa, tasked specifically "to be the warder of and to stride round the island thrice a day with his feet of ." Similarly, notes that Talos "kept guard, running round the island thrice every day," and would pelt intruding ships with stones as part of his standard patrol. These depictions emphasize his unyielding, automaton-like endurance, enabled by his construction, which allowed for ceaseless motion without fatigue. Symbolically, Talos represented an enforcer of King Minos's over the Cretan domain, embodying the island's isolation and impregnability in a manner evocative of Minoan defensive traditions. His patrols served not only as a practical deterrent but also as a mythological emblem of unassailable , where the giant's form stood as a perpetually upholding the realm's boundaries. This role underscored the fusion of divine craftsmanship and royal power in narratives of guardianship.

Protection of Europa and the Island

In , Talos served as a dedicated guardian assigned by to Europa after her abduction to , tasked with protecting both the Phoenician princess and the island itself from external dangers. Apollonius Rhodius describes him in the as the "warder of Europa," portraying Talos as a sentinel entrusted with the symbolic and practical defense of her new domain on . This assignment underscored Zeus's ongoing commitment to Europa's safety following her transformation into the island's queen. Talos's oversight extended to Crete's beaches, where he acted as a vigilant barrier against unauthorized access. In this capacity, he prevented intruders from reaching the island. Later variants attribute a similar protective mandate to King Minos, who inherited Talos's services to safeguard from pirates and rivals. Within broader Minoan mythological traditions, Talos represents a divine sentinel embodying the island's resilience against foreign incursions, reflecting ancient Cretan emphases on coastal defense and the sanctity of royal and religious domains. His role aligns with motifs of automated or superhuman protectors in pre-Hellenic narratives, symbolizing Crete's isolation and prosperity under divine favor.

Encounters and Demise

Clash with the Argonauts

As the Argonauts approached the island of after their arduous voyage, seeking to replenish their water supplies at the sheltered harbor of Dikte, they encountered the formidable bronze guardian Talos, who patrolled the shores to repel intruders. Spotting the Argo from his vantage on the cliffs, Talos uprooted massive boulders and hurled them with unerring force toward the ship, splintering the waves and nearly capsizing the vessel, compelling and his crew to retreat seaward while desperately shielding themselves. This assault echoed Talos's routine vigilance over , where he circled the perimeter thrice daily to safeguard the realm. Stranded offshore and unable to land amid the barrage, the heroes convened in alarm, their progress halted by the relentless giant who continued to menace them from the heights. , the Colchian sorceress among them, then interceded with prophetic assurance, declaring that the gods had revealed Talos's singular vulnerability in a vision—a concealed at his ankle containing his divine —and vowing her enchantments could exploit it to secure their passage. The confrontation escalated into a tense standoff, with Talos breaking off further crags to launch at the distant , his bronze form gleaming as he loomed over the bay, while held position, pinning their hopes on Medea's forthcoming ritual to turn the tide without direct combat. This pivotal clash, vividly depicted in Apollonius Rhodius's , underscores the blend of brute force and supernatural guile that defined the heroes' quest.

Methods of Defeat

In the canonical narrative of Apollonius Rhodius's Argonautica (Book 4, lines 1636–1693), Talos meets his end through Medea's enchantment. She performs a ritual, invoking the goddesses of ruin and sending beguiling phantoms to fill him with divine madness and dizziness. In this enraged state, as he attempts to hurl further boulders at the Argo, Talos stumbles and grazes his ankle on a jagged crag, rupturing the thin membrane of skin that covered the blood-red vein containing his life-sustaining ichor from neck to feet. The ichor gushes forth like molten lead, depriving the automaton of his vitality; he staggers, his immense bronze frame toppling like a felled pine, before expiring on the rocky shore. The vulnerability stemmed from his construction, where the ichor vein was protected only by thin skin at the ankle to allow minimal flexibility, a detail consistent with ancient depictions of divine automata. Alternative accounts emphasize purely physical assaults without reliance on concealed weaknesses. Pseudo-Apollodorus, in his Bibliotheca (1.9.26), describes one such variant where Poeas, an Argonaut archer, mortally wounds Talos by shooting an arrow directly into his ankle, rupturing the protective covering and allowing the to drain completely, resulting in the giant's immediate collapse. This method underscores Talos's otherwise impenetrable bronze exterior, breached only at the precise point of anatomical fragility. In both traditions, Talos's defeat clears the path for the Argo's unhindered departure from , averting further bombardment by boulders and ensuring the crew's safe passage homeward.

Narrative Variants

Immolation Traditions

In variant traditions of the Talos , the giant employed as a means of defense against invaders, heating his metallic body to red-hot temperatures before embracing and incinerating his foes. This fiery method is attested in the of Simonides (c. 556–468 BCE), who describes Talos leaping into flames during a with Sardinian invaders who refused to surrender him to King of ; once heated, Talos clasped the Sardinians to his breast, burning them alive and causing their mouths to gape open in agony, thereby originating the term "sardonic grin" for such contorted expressions. Commentators such as Eustathius on Homer's further elaborate on this capability, noting that Talos could make himself red-hot to roast approaching strangers, a detail that distinguishes these accounts from the standard narrative of his defeat by through Medea's sorcery. These fiery variants, preserved in Byzantine lexica like Suidas (10th century CE) citing Simonides fragment 202A, evoke forge and volcanic imagery tied to Talos's creation by , the god of and fire, emphasizing punitive destruction over mechanical vulnerability. Such traditions highlight sacrificial or retributive elements absent in the primary Argonaut story, portraying Talos not merely as a sentinel but as an instrument of fiery retribution against those defying Cretan , possibly reflecting archaic rituals or etiological explanations for phenomena like volcanic activity on the .

Alternative Lineages and Rationalizations

In some ancient traditions, Talos is described not as a divine construct but as the last surviving member of the Bronze Race of humanity, a mythical generation born from ash trees and renowned for their warlike nature and bronze-like hardness, as outlined in Hesiod's . This lineage integrates Talos into the human of early ages, portraying him as a colossal figure of immense strength who lingered into the heroic era. Apollonius Rhodius explicitly identifies him as "the last of the bronze race of men born from ash-trees," emphasizing his organic origins rather than mechanical fabrication. Another variant positions Talos within Cretan royal descent as the son of Cres, the eponymous son of Zeus and Europa who personified the island of Crete itself (noting that some traditions may refer to a distinct figure named Talos); this genealogy underscores Talos's role as a native guardian tied to Crete's heroic bloodlines rather than an imported artifact. Ancient authors also offered euhemeristic interpretations that historicized Talos as a mortal enforcer rather than a supernatural being. In Plato's Laws (1.626e-627a), an unnamed overseer appointed by King Minos patrols Crete three times annually, bearing a bronze tablet inscribed with the island's laws to ensure their observance among the populace; later traditions associate this figure with Talos, transforming the mythical giant into a vigilant law-keeper emblematic of Minos's centralized authority, with the bronze element symbolizing the immutable nature of the legal code rather than literal armor or construction. Such rationalizations extended to potential ties with real-world artifacts, where ancient commentators inferred Talos's legend from monumental bronze figures or statues encountered on , interpreting the as an exaggerated account of armed sentinels or votive idols from earlier eras that evoked awe and inspired tales of animated guardians. These views positioned Talos as a of metallurgical prowess, blending historical craftsmanship with narrative embellishment without invoking divine intervention.

Depictions and Legacy

Ancient Artistic Representations

Ancient artistic representations of Talos primarily appear in from the late 5th to early BCE, where he is most often depicted in scenes of his confrontation with and subsequent demise. These vase paintings emphasize Talos's role as a giant, frequently portraying him in dynamic poses that highlight his vulnerability despite his imposing metallic form. A seminal example is the volute-krater attributed to the Talos Painter, dated around 400 BCE and housed in the Museo Archeologico Nazionale Jatta in Ruvo di Puglia, , which illustrates the moment of Talos's defeat: the giant collapses backward into the arms of the (Castor and Pollux), while extracts the bronze nail from his ankle vein, causing his to drain. In this artwork, Talos is rendered in white pigment to denote his composition, contrasting with the flesh tones of the human figures, and his muscular, nude body underscores his automaton-like strength. Other red-figure vessels from the same period reinforce this of vulnerability, with the exposed ankle often featured as the site of his single sealed by a nail. These mainland Greek artifacts, produced in , focus on the dramatic climax of Talos's encounter rather than his patrol duties, though subtle references to his protective role appear through the presence of the in the background. The ankle serves as a key iconographic element, symbolizing his sole weakness, often illustrated as a thin tube or cord vulnerable to manipulation, aligning with literary descriptions of his construction by . In contrast, numismatic art from provides rarer glimpses of Talos in an active, aggressive pose, particularly on silver s minted in during the 4th to 3rd centuries BCE. These coins portray a winged, nude Talos as a youthful striding forward, right arm raised to hurl a boulder at intruders, while his left hand holds another stone, evoking his role in repelling ships from the island's shores. One such in the , shows Talos facing right with stones in both hands, his wings emphasizing his divine or mechanical origins, and a ground line beneath his feet suggesting motion around . This Cretan iconography highlights the boulder-throwing gesture as a defensive act, differing from the Athenian emphasis on defeat, and occasionally includes a at his feet, possibly alluding to his vigilant patrol. No surviving sculptures or mosaics definitively depict Talos.

Modern Interpretations and Influences

In the realm of , Talos has served as a foundational for mechanical beings and artificial guardians, influencing narratives that explore the boundaries between humanity and machine. Mary Shelley's (1818) echoes the mythic creation of autonomous entities by drawing on ancient tales of divine craftsmanship, with Talos representing an early prototype of the reanimated construct that defies its creators. Similarly, films like (1982) and its 2017 sequel evoke Talos's unyielding patrol duties through depictions of bioengineered replicants programmed for protection and enforcement, highlighting themes of programmed obedience and rebellion against human control. These works position Talos not merely as a mythological relic but as a prescient symbol of technological in modern storytelling. Scholars in the history of technology and artificial intelligence frequently interpret Talos as an ancient precursor to automata and AI systems, emphasizing his self-sustaining mechanism—powered by ichor and a single vulnerable vein—as a conceptual blueprint for robotic vulnerabilities and ethical design. In her seminal book Gods and Robots: Myths, Machines, and Ancient Dreams of Technology (2018), classicist Adrienne Mayor argues that Talos embodies early Greek fantasies of autonomous machines, predating modern robotics by millennia and raising questions about the moral implications of creating sentient guardians. This perspective is echoed in academic analyses, such as those in the European Journal of Therapeutics (2023), which trace the evolution from Talos's bronze form to contemporary AI, underscoring his role in discussions of machine agency and the risks of unchecked automation. Such interpretations frame Talos as a cautionary figure in the discourse on ancient technology's foresight into today's AI paradigms. In , Talos's image as a colossal mechanical sentinel persists across media, often reimagined to probe philosophical and ethical dilemmas in . The 1963 film Jason and the Argonauts, featuring Ray Harryhausen's stop-motion animation, brings Talos to life as a towering bronze colossus awakened to defend , captivating audiences with its blend of myth and spectacle and influencing subsequent in fantasy cinema. Video games like (2010) portray Talos variants—such as the Bronze and Stone Talos—as formidable bosses embodying raw mechanical power, where players exploit structural weaknesses mirroring the myth's narrative of demise. The puzzle-adventure game (2014) and its 2023 sequel delve deeper into , casting players as simulated robots grappling with and in a post-human world, directly invoking the myth to explore AI's potential for and the moral hazards of creating guardian-like intelligences. These portrayals, analyzed in 21st-century scholarship like Genevieve Liveley's chapter in in Greek and Roman (2024), tie Talos to contemporary , questioning the safeguards needed to prevent autonomous systems from becoming existential threats.

References

  1. https://www.theoi.com/Gigante/GiganteTalos.html
  2. https://www.greekmythology.com/Myths/Creatures/Talos/talos.html
  3. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0022%3Atext%3DLibrary%3Abook%3D1%3Achapter%3D9%3Asection%3D26
  4. https://www.gutenberg.org/files/830/830-h/830-h.htm#chap06
  5. https://mythopedia.com/topics/talos
  6. https://philarchive.org/rec/CHRAIF
  7. https://www.theoi.com/Olympios/HephaistosWorks.html
  8. https://www.theoi.com/Text/ApolloniusRhodius4.html
  9. https://www.theoi.com/Text/HesiodWorksDays.html
  10. https://topostext.org/work/150
  11. https://www.smithsonianmag.com/history/was-talos-the-bronze-automaton-who-guarded-the-island-of-crete-in-greek-myth-an-early-example-of-artificial-intelligence-180986467/
  12. https://www.ancientworldmagazine.com/articles/talos-bronze-guardian/
  13. https://www.poetryintranslation.com/PITBR/Greek/RhodiusArgonauticaIV.php
  14. https://www.theoi.com/Text/Apollodorus1.html
  15. https://www.loebclassics.com/view/simonides-fragments/1991/pb_LCL476.455.xml
  16. https://oxfordre.com/classics/display/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-6212
  17. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0166%3Abook%3D1%3Asection%3D626e
  18. https://www.theoi.com/Gallery/L6.1.html
  19. https://www.teachercurator.com/ancient-greek-art/talos-the-ancient-greek-automaton/
  20. https://www.researchgate.net/publication/370355981_Talos_Pandora_and_the_Trojan_Horse_as_Products_of_Technology_in_Ancient_Literature_and_ArtTalos_Pandore_et_le_cheval_de_Troie_en_tant_que_produits_de_la_technologie_dans_la_litterature_et_l%27art_ancien
  21. https://collections.mfa.org/objects/3688
  22. https://www.alphapolitismos.gr/en/numismatic-collection/our-coins-and-banknotes/silver-stater-phaistos/
  23. https://technicacuriosa.com/2019/03/23/talos/
  24. https://www.jstor.org/stable/j.ctvc779xn
  25. https://eurjther.com/index.php/home/article/view/1775
  26. https://www.youtube.com/watch?v=MOC5HjApbJI
  27. https://godofwar.fandom.com/wiki/Bronze_Talos
  28. https://www.nytimes.com/2015/01/28/arts/video-games/the-talos-principle-prompts-thinking-beyond-virtual-world.html
  29. https://research-information.bris.ac.uk/files/442580446/Chapter_Liveley_AFTER_editorial_review.pdf
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