Among the departures from the direct tradition in Thucydidesü quotation of the Homeric Hymn to Apollo at 3.104, perhaps the most interesting is line 171. The MSS of the Hymns give ET-iotacism). The majority of Thucydidesü MSS give, but is corrected by a second hand in FJ and by the first hand in H to. Each tradition exists in blissful ignorance of the other. In Aristidesü quotation of lines 169–72, the MSS in general agree with the direct tradition (...) of the Hymns:. But the reading in R is a correction. The original reading, which has been erased, was. Aristides, who as his introductory remark shows is quoting from Thucydides, appears to have read in his text of Thucydides, but this has been replaced at some stage in the tradition by ; the MSS tradition of Aristides has been ’corrected’ from the direct tradition of the Hymns. If Aristides had in his text of Thucydides, the corrected reading of FJH is not the. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.1 (2005) 135-138 [Access article in PDF] Jenny Strauss Clay. Hesiod's Cosmos. Cambridge: Cambridge University Press, 2003. xii + 202 pp. Cloth, $65. This book, following on The Wrath of Athena (1983), The Politics of Olympus (1989), and a number of articles, continues Clay's distinctive work on "early Greek theology" (1), that is, the nature of gods and their relations with human beings as treated (...) in archaic epic poetry. For Clay, the works of early Greek epos can be seen as a coherent and interconnected whole, in which the combined subject matter of the Homeric Hymns, Iliad, and Odyssey is book-ended, as it were, by the two major Hesiodic poems: Theogony tells the story from the beginning of things to the accession of Zeus, whereas Works and Days describes life in the post-heroic Iron Age. Hesiod's Cosmos argues for a closely interrelated and complementary relationship between these two works, in which one poem looks at the world from a divine standpoint, paying little attention to human life, while the other focuses on the here-and-now exigencies of human existence, considering the gods mainly as they intersect with those realities. Together they make up a view of the world that transcends any single perspective, displaying the superior skill, intelligence, and inspiration of their poet. As a pragmatic explanation for this thoroughly intertextual relationship, Clay proposes that Hesiod may have been at work simultaneously on both compositions.Dealing succinctly with the Hesiodic Question about authorship and authorial persona, Clay locates the composition of Theogony and Works and Days in a middle ground, somewhere between the work of a historical poet, whose biography is reflected in the poems, and the product of a didactic tradition in which "Hesiod" is the persona that a performer of this poetry adopts (a view developed especially by Gregory Nagy). A historical Hesiod seems likely to Clay, but even so, "the voice we hear is constructed within the text for its own ends" (3). Although she maintains that this question is not central to her analysis of the Hesiodic poems, the nuanced and subtle cross-references that she postulates between the two works prompt her to write as if there were an individual, thoughtful author behind the texts—one working with ideas that will be taken up later by acknowledged "philosophical" writers. Further, and central to her methodology, Clay maintains (9) that it is both possible and desirable, if hardly simple, to seek authorial intentions in the works under discussion. The admittedly provocative goal of Hesiod's Cosmos, then, is to "demonstrate a coherent plan that unites the poems into a consistent vision that is both thoughtful and subtle" and thereby "to recover the reputation the Hesiodic poems long enjoyed in antiquity" (2: a discussion of Hesiod's ancient reputation would have been welcome here). [End Page 135]The book is well organized to achieve that end. It begins with a general chapter on Theogony and another on Works and Days, summarizing each work while emphasizing its structural peculiarities and teasing out the meanings suggested thereby. The five chapters that follow compare salient aspects of the two poems: their divergent proems, what they say about the origins of humankind, their two versions of the Prometheus story, the presentation of gods in Works and Days and men in Theogony, and finally each poem's treatment of what Clay terms "hybrids" (monsters and heroes, both being of mixed birth) in a chapter that includes substantial discussion of the Hesiodic Catalogues. A brief conclusion, focusing on the ancient theme of a contest between Hesiod and Homer, argues that Hesiodic poetry makes a claim to broader knowledge and scope than Homeric.A conspicuous and valuable characteristic of Clay's approach is her insistence on treating both texts in their entirety. Each poem is reviewed in linear sequence in the two introductory chapters, with an eye to its "intratextual" content—especially the relation of digressions to the structural backbone. The Theogony's basic structure is obviously genealogical, but its narrative digressions come at unpredictable junctures, some of them (such... (shrink)

Horace has told us that the author of a literary work, qui uariare cupit rem prodigialiter unam, falls into absurdities. Much more likely to meet this fate is the interpolator who has the same ambition. The above four lines are a case in point; for it is fairly certain that if this Hymn were presented to readers as it came from the hand of its author, the whole passage with its phenomenal bull and its four pacifist dogs which apparently had (...) agreed together not to bark and bite, ‘as is their nature to,’ would not be found in the text. Undoubtedly it is true, though it is by no means a marvel , that the bull which was somewhere else and the dogs which were following in his wake were not taken by the infant cattle-lifter who was satisfied, as he well might be, with a trifle of fifty cows. The veracity of the interpolater in this regard may, therefore, pass without question, and furthermore his knowledge of epic metre does not fail seriously till he reaches the fourth line, although ό δ ταρος is not really epic and λλων not λλων is required in the opening line, for he certainly did not mean, as he unwittingly says ‘other bulls,’ but ‘the others, the cows.’ After ο μνλειθεν it is quite out of the question that οĩ τε κύνες τε ταȗρος, two flagrant examples of the later article, should follow. (shrink)

If all or any of our MSS. dated from 800 or 900 B.C., it might be of importance to note θέλεις for the regular epic form ⋯θέλεις and even to print it so in the text, otherwise it is negligible. More worthyof attention is the punctuation after ⋯μo⋯μαι. The presence of ὑπίσχoμαι in the next line is held to justify the stop given above, otherwise the comma, as in Gemoll's edition, would be sufficient or more than sufficient. For in accordance (...) with Homeric usage we might read:πατρòς κεϕαλήν μέγαν ὃρκoν ⋯μo⋯μαιμή μέν ⋯γώ μητ' αὐτòς—ὑπίσχoμαι—αἴτιoς εἶναι. (shrink)

Among the many parodic elements in the Homeric Hymn to Hermes is the day-old baby's fart-omen. As is well-known, sneezing was considered prophetic in the ancient world, and the humour of the scene comes from the immediately preceding fart and the fact that Hermes’ bodily emissions are deliberate . Apollo has, in fact, gone in search of his baby brother on the basis of a standard bird-omen and confronted with Hermes’ signs, he recognizes that the crepitation is just as (...) much an omen as the sneeze, witness the plural τoúτoιζ oìωυoîσι a few lines later . We may compare a passage in Aristophanes’ Knights where the Sausage-seller reports that he took courage before speaking to the Council from a good omen: a man farted to the right, ༐κ δπξιâζ ᾤπέπαρδε . Aristophanes’ formulation suggests to me that the composer of the hymn may be intentionally setting up a play on words : the only difference between the verbal form ༐πέπταδε ‘sneezed’ is the reversal of the liquid and the dental stop. (shrink)

The Homeric Hymns are commonly taken to be religious poems in some general sense but they are often said to contrast with cult hymns in that the latter have a definite ritual function, whereas "literary" hymns do not. This paper argues that despite the difficulty in establishing a precise occasion of performance for the Homeric Hymns, we are nevertheless in a position to identify their ritual function: by intoning a Hymn of this kind, the (...) singer achieves the presence of a god before participants in a public festival. The key mechanism by which the hymnist does this is the evocation of a god via the elaboration of a typical unit of traditional hymnic discourse, what I call the "theme of recognition ." The pragmatic operation of narrative such as this is similar to the device known in the study of magical texts as the historiola, or short narrative that serves as a verbal model for a desired outcome in the patient's world. This kind of operation is called, in this paper, "symbolic action," a term borrowed from the rhetorician Kenneth Burke. The theme of recognition is traced in the fabric of the expansive Hymns , and the paper further argues that an important generic marker in the Hymns, the greeting of the god , discloses their pragmatic function, the hymnist's skillful deliverance of the god before his hearers. (shrink)

It is universally recognized that the Hymn to Ares stands apart from all the other poems in the Homeric collection, and that it was composed centuries later than any of those that can be assigned to a particular period with any degree of confidence. Many older scholars classed it or even printed it with the Orphic Hymns, which are transmitted together with the Homeric Hymns as well as with the hymns of Callimachus and Proclus. But (...) the similarity with the Orphic Hymns is only superficial. It merely consists in the stylistic feature of accumulated epithets, a common characteristic of late hymns. There are three reasons for not lumping the Hymn to Ares with the very homogeneous Orphic series. First, the Orphic Hymns are courteous invocations of different gods to come to a ceremony described as τєλєτή or τєλєτταί, while the Hymn to Ares is an intensely personal prayer for the poet's own soul. Secondly, the Orphic collection already contains a hymn to Ares , and duplications are avoided. Thirdly, in the Homeric hymn Ares is addressed as a planetary god. In the Orphic hymn to Ares, this aspect is totally absent, and the same is true of the hymns to Hermes, Aphrodite, Zeus, and Kronos. (shrink)

The Homeric Hymn to Aphrodite has traditionally been understood to pay honour to a family of Aineiadai who once held power in the Troad, but in more recent years some scholars have rejected this view. This article first revisits this controversial issue, suggesting that concentrated attention paid in the hymn to the birth of Aineias and his lineage supports the position that the poem was composed for a group that identified itself with Aineias. It then goes on to consider (...) the view that the Hymn to Aphrodite narrates the end of Aphrodite's mixing gods and mortals in love. It is argued that this reading is not required by the text of the poem. (shrink)

The Onchestos passage in the Homeric Hymn to Apollo (229-38) has been discussed extensively, most usefully by A. Schachter (BICS 23 (1976)102-14) and G. Roux (REG 77 (1964) 1-22). Further consideration of the disputed verbal forms in lines 235 and 236 and the plurals of 233-6 suggests that the plurals do indeed indicate a two-horse chariot team but that the presence of a team is not incompatible with the test of a single colt, and that if a chariot is (...) wrecked by the unguided horses, it is righted and left in situ (with the horses removed) while prayers of supplication are made to Poseidon. The events referred to are interpreted as elements of a religious ritual with explicit military implications, dating from the Mycenaean period. It is, however, noted that a Babylonian ritual parallel might suggest a Near Eastern (and possibly non-military) origin. (shrink)

This paper presents a literary reading of the Homeric Hymn to Pan, tracing the effects of phonetic, verbal, and thematic repetitions throughout the hymn and especially surrounding the appearance of Echo in line 21. A close reading of the structures generated by these repetitions reveals a complex superimposition of structural schemata, and a psychoanalytic reader-response analysis relates our deferred expectation for closure to Pan's disappointed desire for Echo in the erotic myth. The nightingale simile, in its allusion to the (...) Odyssey, enacts another kind of echo and illustrates the self-conscious intertextuality of the archaic Greek poetics of variation. (shrink)

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant . On the contrary, krembaliastus—the suitability of which has not been discussed in detail, even by scholars who seem to have (...) favored it—can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism . The author also questions the conventional interpretation of mimeisthai as “mimicking,” instead reading it as “representation,” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of “knowing how to represent the voices and the rhythmic patterns of all people” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond. (shrink)

Apollo travels from Pytho to Olympus, and the other gods greet his arrival (186–93):ἔνθεν δὲ πρὸϲ Ὄλυμπον ἀπὸ χθονὸϲ ὥϲ τε νόημαεἶϲι Διὸϲ πρὸϲ δῶμα θεῶν μεθ’ ὁμήγυριν ἄλλων⋅αὐτίκα δ’ ἀθανάτοιϲι μέλει κίθαριϲ καὶ ἀοιδή.Μοῦϲαι μέν θ’ ἅμα πᾶϲαι ἀμειβόμεναι ὀπὶ καλῇὑμνεῦϲίν ῥα θεῶν δῶρ’ ἄμβροτα ἠδ’ ἀνθρώπωντλημοϲύναϲ, ὅϲ’ ἔχοντεϲ ὑπ’ ἀθανάτοιϲι θεοῖϲιζώουϲ’ ἀφραδέεϲ καὶ ἀμήχανοι, οὐδὲ δύνανταιεὑρέμεναι θανάτοιό τ’ ἄκοϲ καὶ γήραοϲ ἄλκαρ.From there he goes quick as a thought from the earth to Olympus, to the house of Zeus, (...) in order to join the gathering of the other gods. Immediately the immortals concern themselves with lyre music and song. All the Muses together, responding with their beautiful voice, hymn the divine gifts of the gods and the endurance of men, all that they have from the immortal gods and yet live ignorant and helpless, unable to find a remedy for death and a defence against old age. (shrink)

Hermes' maturation into a god of commerce and diplomacy is punctuated by a series of oaths. At first he uses tricky or unsworn oaths in the investigation of his theft of Apollo's cattle, but eventually he and Apollo exchange oaths that evoke the protocols of ritualized friendship. Although the ceremony suggests that Hermes has achieved adulthood, a narrative sleight of hand leaves some ambiguity about the completion of the ritual.