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The only complete poem of the genealogical group is the Theogony, which traces from the beginning of things the descent and vicissitudes of the families of the gods. Like the Works and Days this poem has no dramatic plot; but its unifying principle is clear and simple. The gods are classified chronologically: as soon as one generation is catalogued, the poet goes on to detail the offspring of each member of that generation. Exceptions are only made in special cases, as the Sons of Iapetus (ll. 507-616) whose place is accounted for by their treatment by Zeus. The chief landmarks in the poem are as follows: after the first 103 lines, which contain at least three distinct preludes, three primeval beings are introduced, Chaos, Earth, and Eros—here an indefinite reproductive influence. Of these three, Earth produces Heaven to whom she bears the Titans, the Cyclopes and the hundred-handed giants. The Titans, oppressed by their father, revolt at the instigation of Earth, under the leadership of Cronos, and as a result Heaven and Earth are separated, and Cronos reigns over the universe. Cronos knowing that he is destined to be overcome by one of his children, swallows each one of them as they are born, until Zeus, saved by Rhea, grows up and overcomes Cronos in some struggle which is not described. Cronos is forced to vomit up the children he had swallowed, and these with Zeus divide the universe between them, like a human estate. Two events mark the early reign of Zeus, the war with the Titans and the overthrow of Typhoeus, and as Zeus is still reigning the poet can only go on to give a list of gods born to Zeus by various goddesses. After this he formally bids farewell to the cosmic and Olympian deities and enumerates the sons born of goddess to mortals. The poem closes with an invocation of the Muses to sing of the “tribe of women”.

This conclusion served to link the Theogony to what must have been a distinct poem, the Catalogues of Women. This work was divided into four (Suidas says five) books, the last one (or two) of which was known as the Eoiae and may have been again a distinct poem: the curious title will be explained presently. The Catalogues proper were a series of genealogies which traced the Hellenic race (or its more important peoples and families) from a common ancestor. The reason why women are so prominent is obvious: since most families and tribes claimed to be descended from a god, the only safe clue to their origin was through a mortal woman beloved by that god; and it has also been pointed out that mutterrecht still left its traces in northern Greece in historical times.

The following analysis (after Marckscheffel) 1108 will show the principle of its composition. From Prometheus and Pronoia sprang Deucalion and Pyrrha, the only survivors of the deluge, who had a son Hellen (frag. 1), the reputed ancestor of the whole Hellenic race. From the daughters of Deucalion sprang Magnes and Macedon, ancestors of the Magnesians and Macedonians, who are thus represented as cousins to the true Hellenic stock. Hellen had three sons, Dorus, Xuthus, and Aeolus, parents of the Dorian, Ionic and Aeolian races, and the offspring of these was then detailed. In one instance a considerable and characteristic section can be traced from extant fragments and notices: Salmoneus, son of Aeolus, had a daughter Tyro who bore to Poseidon two sons, Pelias and Neleus; the latter of these, king of Pylos, refused Heracles purification for the murder of Iphitus, whereupon Heracles attacked and sacked Pylos, killing amongst the other sons of Neleus Periclymenus, who had the power of changing himself into all manner of shapes. From this slaughter Neleus alone escaped (frags. 13, and 10-12). This summary shows the general principle of arrangement of the Catalogues: each line seems to have been dealt with in turn, and the monotony was relieved as far as possible by a brief relation of famous adventures connected with any of the personages—as in the case of Atalanta and Hippomenes (frag. 14). Similarly the story of the Argonauts appears from the fragments (37-42) to have been told in some detail.

This tendency to introduce romantic episodes led to an important development. Several poems are ascribed to Hesiod, such as the Epithalamium of Peleus and Thetis, the Descent of Theseus into Hades, or the Circuit of the Earth (which must have been connected with the story of Phineus and the Harpies, and so with the Argonaut-legend), which yet seem to have belonged to the Catalogues. It is highly probable that these poems were interpolations into the Catalogues expanded by later poets from more summary notices in the genuine Hesiodic work and subsequently detached from their contexts and treated as independent. This is definitely known to be true of the Shield of Heracles, the first 53 lines of which belong to the fourth book of the Catalogues, and almost certainly applies to other episodes, such as the Suitors of Helen 1109, the Daughters of Leucippus, and the Marriage of Ceyx, which last Plutarch mentions as “interpolated in the works of Hesiod.”

To the Catalogues, as we have said, was appended another work, the Eoiae. The title seems to have arisen in the following way 1110: the Catalogues probably ended (ep. Theogony 963 ff.) with some such passage as this: “But now, ye Muses, sing of the tribes of women with whom the Sons of Heaven were joined in love, women pre-eminent above their fellows in beauty, such as was Niobe (?).” Each succeeding heroine was then introduced by the formula “Or such as was...” (cp. frags. 88, 92, etc.). A large fragment of the Eoiae is extant at the beginning of the Shield of Heracles, which may be mentioned here. The “supplement” (ll. 57-480) is nominally Heracles and Cycnus, but the greater part is taken up with an inferior description of the shield of Heracles, in imitation of the Homeric shield of Achilles (Iliad xviii. 478 ff.). Nothing shows more clearly the collapse of the principles of the Hesiodic school than this ultimate servile dependence upon Homeric models.

At the close of the Shield Heracles goes on to Trachis to the house of Ceyx, and this warning suggests that the Marriage of Ceyx may have come immediately after the ‘Or such as was’ of Alcmena in the Eoiae: possibly Halcyone, the wife of Ceyx, was one of the heroines sung in the poem, and the original section was “developed” into the Marriage, although what form the poem took is unknown.

Next to the Eoiae and the poems which seemed to have been developed from it, it is natural to place the Great Eoiae. This, again, as we know from fragments, was a list of heroines who bare children to the gods: from the title we must suppose it to have been much longer that the simple Eoiae, but its extent is unknown. Lehmann, remarking that the heroines are all Boeotian and Thessalian (while the heroines of the Catalogues belong to all parts of the Greek world), believes the author to have been either a Boeotian or Thessalian.

Two other poems are ascribed to Hesiod. Of these the Aegimius (also ascribed by Athenaeus to Cercops of Miletus), is thought by Valckenaer to deal with the war of Aegimus against the Lapithae and the aid furnished to him by Heracles, and with the history of Aegimius and his sons. Otto Muller suggests that the introduction of Thetis and of Phrixus (frags. 1-2) is to be connected with notices of the allies of the Lapithae from Phthiotis and Iolchus, and that the story of Io was incidental to a narrative of Heracles’ expedition against Euboea. The remaining poem, the Melampodia, was a work in three books, whose plan it is impossible to recover. Its subject, however, seems to have been the histories of famous seers like Mopsus, Calchas, and Teiresias, and it probably took its name from Melampus, the most famous of them all.