By Athanassios Vergados
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Aims and Scope
The Hymn to Hermes, whereas definitely the main fun of the so-called Homeric Hymns, additionally provides an array of difficult difficulties. in precisely 580 traces, the baby god invents the lyre and sings a hymn to himself, travels from Cyllene to Pieria to scouse borrow Apollo’s farm animals, organizes a dinner party on the river Alpheios the place he serves the beef of 2 of the stolen animals, cunningly defends his innocence, and is eventually reconciled to Apollo, to whom he provides the lyre in alternate for the farm animals. This e-book offers the 1st specified remark dedicated particularly to this strange poem considering Radermacher’s 1931 version. The statement can pay detailed consciousness to linguistic, philological, and interpretive issues. it really is preceded via a close creation that addresses the Hymn’s rules on poetry and song, the poem’s humour, the Hymn’s relation to different archaic hexameter literature either in thematic and technical features, the poem’s reception in later literature, its constitution, the problem of its date and position of composition, and the query of its transmission. The severe textual content, according to F. Càssola’s version, is provided with an gear of formulaic parallels in archaic hexameter poetry in addition to attainable verbal echoes in later literature.
Athanassios Vergados, Ruprecht-Karls-Universität Heidelberg, Germany, andNational and Kapodistrian collage of Athens, Greece.
xiv, 718 pages
Language: English, old Greek
Type of book: Commentary
Keywords: Homeric Hymns; Hermes; Poetry; Greek; faith
Read Online or Download A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41) PDF
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Extra info for A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41)
Herm. Herm. this ‘serious matter’ involves a newborn infant in its swaddling clothes! Apol. this divine crisis occurs towards the beginning of Zeus’s reign, and notably all the gods react with fear to Apollo’s first appearance on Olympus; cf. Clay Politics 96. Humour in the Homeric Hymn to Hermes 29 his angry mother for coming home late at night after his thievish exploits (154–61). This mode of presentation is also at work in Apollo’s questions regarding Hermes’ art at 440–42: was it Hermes’ natural talent that created this beautiful music?
Herm. we witness a relation of divine antagonism. Divine antagonism is certainly nothing unusual in early Greek literature. One need only think of the so-called Succession Myth in Hesiod’s Theogony or the brief reference to the gods’ attempts to subvert Zeus in Il. 396–406, which may point to a well-known story told more fully elsewhere. But in these instances we have to do with serious conflicts, and there is nothing laughable about them. In addition, the longer Homeric Hymns present important moments in the history of the divine cosmos.
Perhaps as an answer to a taunt that Hermes is not a «? At any rate, we are justified in detecting an incongruity here, since a text resembling a rhapsodic hymn is given as answer in a playful repartee. Hermes’ hymn to himself is also a play on sympotic convention. We know that hymns were sung in banquets (cf. p. 11 n. 25), but Hermes’ self-hymn would put an end to this playful circle: it is an (at least partly) serious text that spoils the fun of the mutual bantering. In fact, this imaginary banquet seems to end after this inset hymn, with Hermes putting away his lyre and departing for Pieria.
A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41) by Athanassios Vergados