Insight Editions · No. 231
The Homeric Hymns
Anonymous (Homeric tradition)
A hymn-by-hymn study of the archaic Greek poems to Demeter, Apollo, Hermes, Aphrodite and the other gods, with their myths, cult settings and poetic craft.
A study guide to The Homeric Hymns by Anonymous (Homeric tradition). Shared free for personal reading; not for sale and not endorsed by the authors or publishers. Please read and buy the original.
Praise Poems That Order the Gods
Hymns spine
Honour under Zeus
Clay's frame via Rayor: Zeus has power, but details of divine honour are still unsettled.
| Ch | Title | Gist |
|---|---|---|
| 1 | Preface | Teaching pairings; Dionysos lines |
| 2 | Introduction | Genre, performance, form |
| 3 | Hymn 1 Dionysos | Birth, Hera, acceptance fragments |
| 4 | Hymn 2 Demeter | Abduction, Eleusis, Mysteries |
| 5 | Hymn 3 Apollo | Delos + Delphi foundation |
| 6 | Hymn 4 Hermes | Theft, lyre, Zeus's laugh |
| 7 | Hymns 5-6 Aphrodite | Desire reversed; sea-birth praise |
| 8 | Short KEEP | Cult snapshots and prayers |
| 9 | Bibliography | Curated scholarship path |
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Preface
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Twenty-eight new lines for Hymn 1 help show Hera accepting Dionysos on Olympos.
PREFACE In the ten years since the first edition of this book appeared, the Homeric Hymns have only increased in popularity among readers
and scholars. In addition to some new reading recommendations and minor corrections, the second edition has revisions to the Hymn to Dionysos
1, including twenty-eight new lines. The Hymn to Dionysos 1 once was one of the longer hymns, at 411
lines; the new fragments help to reveal the story of Hera’s acceptance of Dionysos on Mount Olympos. The Hymn to Dionysos 7 begins with “I will remember,” and
the Hymn to Apollo 3 adds, “I will remember and not forget.” Altogether or singly, the hymns are worth remembering, particularly along with Homer or Hesiod. The
Preface: mech 1
Homeric Hymns provide an excellent addition to mythology, religion, gender, literature, and civilization courses because of their short length, accessible
narratives, general interest, and connections to other classical and modern works. As quick introductions to Greek gods, the short hymns
immediately reveal some of the complexities and subtleties in Greek thought. For example, the Iliad portrays Ares, the god of
war, as utterly bloodthirsty. In the Hymn to Ares, however, he is also the god who grants the courage for peace: But you, Blessed One,
give me courage to stay within the gentle laws of peace, fleeing enemy battle and violent death. (8.15-17) The Hymn to Dionysos
Preface: mech 2
7 functions as a brief introduction to Euripides’ Bacchae, regarding Dionysos’ demeanor, attributes, and double aspect as beneficent or deadly depending on human
recognition of his divine self. Since Ovid’s Metamorphoses (3.511-733) combines this hymn and the Bacchae, the three works illustrate
how authors borrowed and adapted myths in antiquity. As in Hesiod’s creation tale, Theogony, the short Hymn to Aphrodite 6 and Hymn to Athena
28 focus on these goddesses’ double or unusual births: From his august head, cunning Zeus himself gave birth to her, born in warlike armor
of gleaming gold. Awe seized all the gods watching. She sprang quickly from his immortal head and stood in front of Zeus who bears the aegis,
Preface: mech 3
shaking her sharp spear. (28.4-9) Paired with the Athenian black figure amphora image of fully armed Athena stepping out of Zeus’ head, this hymn helps us
remember the attributes of Zeus’ “brain child,” the goddess of wisdom. Like fine wines with distinctive foods, the hymns add
value in pairings with other ancient literature. While the entire collection of hymns is essential reading in
mythology courses, the addition of one or two of the four longer hymns can enrich other courses. For example, ancient religion
and Greek civilization courses benefit from studying the Hymn to Apollo 3 for the founding of Delphi and the Hymn to Demeter
Preface: mech 4
for the Thesmophoria and the Eleusinian Mysteries. The Hymn to Demeter 2 and the Hymn to Aphrodite 5 are essential reading in
women in antiquity courses. For those interested in love poetry, the Hymn to Aphrodite 5 makes a fascinating comparison to the
erotic poetry of Sappho, Anakreon, and Archilochos. A Sappho fragment poignantly expresses the human passion, aging, and mortality central to the
Hymn to Aphrodite ’s story of Tithonos (5.218-38): For they say rosy-armed Dawn in love went to the ends of earth holding Tithonos,
beautiful and young, but in time gray old age seized even him with an immortal wife. (Constantine et al. 2010: 92) Before studying Homer’s Iliad
Preface: mech 5
, reading the shorter narrative of the Hymn to Aphrodite 5 introduces issues such as conflict among
the gods, divine interference in human lives, and the ethical construct stated in Seth Schein’s The Mortal Hero: people’s “characteristic
blend of responsibility and lack of ultimate power” (23). More than the other hymns, the Hymn to Demeter 2-the
story of Persephone’s kidnapping by the Lord of the Dead-is particularly versatile, in its recognition value, richness, and
sheer beauty. This earliest version of the myth is far more complex than simply an explanation of the seasons. Demeter’s relationship
Preface: mech 6
with human beings is complicated. She suffers like a human when she loses her child yet is unsympathetic to Queen
Metaneira’s fearful cry as Demeter roasts her baby in the fire. What does Demeter’s sojourn with the people of Eleusis, told
only in this hymn, add to the story? Does her experience among humans, deceptive and potentially fatal as it is, lead to her eventual
bounty, as Helene Foley (1994) suggests? Demeter is willing to kill off the human race to regain her daughter yet returns
fertility and grants salvation through the Eleusinian Mysteries. The Hymn to Demeter 2 helps illuminate the daily life of women
Preface: mech 7
in ancient Greece. We do not tend to associate marriage with death, while Greek thought, literature, and ritual closely connect
them. For Demeter, Persephone’s marriage to Hades is her closest experience with death, since she cannot initially or fully retrieve
Persephone. The marriage of Hades and Persephone, frequently retold and referenced, became a motif of marrying death. Girls
married in their young teens, and “women who give birth before the age of seventeen have a higher mortality rate than older
women” (Demand 1994: 102). Infant mortality was high as well. A funeral could indeed follow swiftly after a wedding, transforming
Preface: mech 8
“the melody / of weddings to the sound of wailing dirges” (Rayor 1991: 124). In addition, wedding and funeral rites, in
which women played a central role, share many attributes. The bride and the corpse were washed, dressed, anointed, and either
veiled (bride) or shrouded (corpse). Both journeyed to a new home, led by a procession of family and friends carrying torches,
with song and dance, blessings, gifts, and a feast (Rehm 1994: 29). Feminist theory, explored through selected articles and modern
For example, Nanci DeBloois’s “Rape, Marriage, or Death? Gender
Preface: mech 9
Perspectives in the Homeric Hymn to Demeter” provides a clear feminist analysis and profound insight. According to the
male deities Zeus, Hades, and Helios, this was a traditional marriage, arranged between the father and the bridegroom. According
to Demeter, Persephone, and Hekate, however, it was an abduction and rape. The Persephone and Hades poems in Louise Glück’s Averno
also explore gendered perspectives. In “Persephone the Wanderer,” Persephone is having sex in hell. Unlike the rest of us, she doesn’t know
what winter is, only that she is what causes it. (2007: 17) In this version, Glück sees the story of Persephone “as an argument
Preface: mech 10
between the mother and the lover- / the daughter is just meat” (19). Caroline A. Perkins’s article “Persephone’s Lie in the Homeric Hymn to Demeter
” and Harryette Mullen’s poem “Miss Persephone” explore Persephone’s story to her mother about how she
came to ingest that pomegranate seed. Did Hades use it like a date-rape drug, “secretly slipping it to her,” or compel her “by
force to eat, most unwillingly,” as Persephone tells her mother? The hymn’s narrative says at 371-74: But he gave her a honey-sweet pomegranate seed to eat,
secretly slipping it to her, so she would not remain with holy, dark-robed Demeter forever. While Persephone says at 406-13:
Preface: mech 11
Indeed I will tell you, Mother, the whole truth. When Hermes, the swift runner, came to me from my father, son of Kronos, and the other gods
to bring me from Erebos, so you could see me and give up anger and dread wrath against the gods, I leapt with joy, but secretly Kronos’ other son
put into me a pomegranate seed, honey-sweet food, compelling me by force to eat, most unwillingly. According to Mullen, Persephone knew what she was doing and
lied to her mother, claiming “technical virginity: / ‘I only swallowed his seeds’” (1981: 31): So now you lead a double life,
you two-faced hussy. In spring you do the fake virgin act to please your ma, who pretends to believe it. But in the dark cold months of winter
Preface: mech 12
you heat the sheets of Hades when your lusty lover takes his share. A surprising interpretation indeed, yet based on the hymn. Mullen’s
“Miss Persephone” also illustrates how myths change, granting us license to join in the conversation. In my husband’s
classroom, his students explored these three scenarios: Would Persephone be unhappy with her time split between mother and
husband? Before they reach the final compromise, whereby Persephone will split each year between Hades and Demeter,
what would a family meeting or therapy session with Zeus, Demeter, and Persephone discover? What might any of the four
Preface: mech 13
major characters write in a letter to one of the others? Even versions that veer far from the myth, such as the film Percy Jackson and the Lightning Thief
(2010), in which the child, a son, rescues his kidnapped mother from Hades, can draw us back to the book. Is this merely a reversal of mother and child
to fit the young adult genre? Or is Percy Jackson playing Demophon, the son Demeter tries to steal into immortality, who could
be more powerful than Zeus and be able to cross the boundaries of death and return? The Hymn to Helios 31 and the Hymn to Selene 32 state in
their last lines that they were meant as preludes before epic tales. Let us continue to read and remember the Homeric Hymns
Preface: mech 14
introductions to a range of ancient and modern literature and topics.
Extended pass
PREFACE In the ten years since the first edition of this book appeared, the Homeric Hymns have only increased in popularity among readers
ext 0
and scholars. In addition to some new reading recommendations and minor corrections, the second edition has revisions to the Hymn to Dionysos
1, including twenty-eight new lines. The Hymn to Dionysos 1 once was one of the longer hymns, at 411
lines; the new fragments help to reveal the story of Hera’s acceptance of Dionysos on Mount Olympos. The Hymn to Dionysos 7 begins with “I will remember,” and
the Hymn to Apollo 3 adds, “I will remember and not forget.” Altogether or singly, the hymns are worth remembering, particularly along with Homer or Hesiod. The
Homeric Hymns provide an excellent addition to mythology, religion, gender, literature, and civilization courses because of their short length, accessible
narratives, general interest, and connections to other classical and modern works. As quick introductions to Greek gods, the short hymns
ext 6
immediately reveal some of the complexities and subtleties in Greek thought. For example, the Iliad portrays Ares, the god of
war, as utterly bloodthirsty. In the Hymn to Ares, however, he is also the god who grants the courage for peace: But you, Blessed One,
give me courage to stay within the gentle laws of peace, fleeing enemy battle and violent death. (8.15-17) The Hymn to Dionysos
7 functions as a brief introduction to Euripides’ Bacchae, regarding Dionysos’ demeanor, attributes, and double aspect as beneficent or deadly depending on human
recognition of his divine self. Since Ovid’s Metamorphoses (3.511-733) combines this hymn and the Bacchae, the three works illustrate
how authors borrowed and adapted myths in antiquity. As in Hesiod’s creation tale, Theogony, the short Hymn to Aphrodite 6 and Hymn to Athena
ext 12
28 focus on these goddesses’ double or unusual births: From his august head, cunning Zeus himself gave birth to her, born in warlike armor
of gleaming gold. Awe seized all the gods watching.
shaking her sharp spear. (28.4-9) Paired with the Athenian black figure amphora image of fully armed Athena stepping out of Zeus’ head, this hymn helps us
remember the attributes of Zeus’ “brain child,” the goddess of wisdom. Like fine wines with distinctive foods, the hymns add
value in pairings with other ancient literature. While the entire collection of hymns is essential reading in
mythology courses, the addition of one or two of the four longer hymns can enrich other courses. For example, ancient religion
ext 18
and Greek civilization courses benefit from studying the Hymn to Apollo 3 for the founding of Delphi and the Hymn to Demeter
for the Thesmophoria and the Eleusinian Mysteries. The Hymn to Demeter 2 and the Hymn to Aphrodite 5 are essential reading in
women in antiquity courses. For those interested in love poetry, the Hymn to Aphrodite 5 makes a fascinating comparison to the
erotic poetry of Sappho, Anakreon, and Archilochos. A Sappho fragment poignantly expresses the human passion, aging, and mortality central to the
Hymn to Aphrodite ’s story of Tithonos (5.218-38): For they say rosy-armed Dawn in love went to the ends of earth holding Tithonos,
beautiful and young, but in time gray old age seized even him with an immortal wife. (Constantine et al. 2010: 92) Before studying Homer’s Iliad
ext 24
, reading the shorter narrative of the Hymn to Aphrodite 5 introduces issues such as conflict among
the gods, divine interference in human lives, and the ethical construct stated in Seth Schein’s The Mortal Hero: people’s “characteristic
blend of responsibility and lack of ultimate power” (23). More than the other hymns, the Hymn to Demeter 2-the
story of Persephone’s kidnapping by the Lord of the Dead-is particularly versatile, in its recognition value, richness, and
sheer beauty. This earliest version of the myth is far more complex than simply an explanation of the seasons. Demeter’s relationship
with human beings is complicated. She suffers like a human when she loses her child yet is unsympathetic to Queen
ext 30
Metaneira’s fearful cry as Demeter roasts her baby in the fire. What does Demeter’s sojourn with the people of Eleusis, told
only in this hymn, add to the story? Does her experience among humans, deceptive and potentially fatal as it is, lead to her eventual
bounty, as Helene Foley (1994) suggests? Demeter is willing to kill off the human race to regain her daughter yet returns
fertility and grants salvation through the Eleusinian Mysteries. The Hymn to Demeter 2 helps illuminate the daily life of women
in ancient Greece. We do not tend to associate marriage with death, while Greek thought, literature, and ritual closely connect
them. For Demeter, Persephone’s marriage to Hades is her closest experience with death, since she cannot initially or fully retrieve
ext 36
Persephone. The marriage of Hades and Persephone, frequently retold and referenced, became a motif of marrying death. Girls
married in their young teens, and “women who give birth before the age of seventeen have a higher mortality rate than older
women” (Demand 1994: 102). Infant mortality was high as well. A funeral could indeed follow swiftly after a wedding, transforming
“the melody / of weddings to the sound of wailing dirges” (Rayor 1991: 124). In addition, wedding and funeral rites, in
which women played a central role, share many attributes. The bride and the corpse were washed, dressed, anointed, and either
veiled (bride) or shrouded (corpse). Both journeyed to a new home, led by a procession of family and friends carrying torches,
ext 42
with song and dance, blessings, gifts, and a feast (Rehm 1994: 29). Feminist theory, explored through selected articles and modern
For example, Nanci DeBloois’s “Rape, Marriage, or Death? Gender
Perspectives in the Homeric Hymn to Demeter” provides a clear feminist analysis and profound insight. According to the
male deities Zeus, Hades, and Helios, this was a traditional marriage, arranged between the father and the bridegroom. According
to Demeter, Persephone, and Hekate, however, it was an abduction and rape. The Persephone and Hades poems in Louise Glück’s Averno
also explore gendered perspectives. In “Persephone the Wanderer,” Persephone is having sex in hell. Unlike the rest of us, she doesn’t know
ext 48
what winter is, only that she is what causes it. (2007: 17) In this version, Glück sees the story of Persephone “as an argument
between the mother and the lover- / the daughter is just meat” (19). Caroline A. Perkins’s article “Persephone’s Lie in the Homeric Hymn to Demeter
” and Harryette Mullen’s poem “Miss Persephone” explore Persephone’s story to her mother about how she
came to ingest that pomegranate seed. Did Hades use it like a date-rape drug, “secretly slipping it to her,” or compel her “by
force to eat, most unwillingly,” as Persephone tells her mother? The hymn’s narrative says at 371-74: But he gave her a honey-sweet pomegranate seed to eat,
While Persephone says at 406-13:
ext 54
Indeed I will tell you, Mother, the whole truth. When Hermes, the swift runner, came to me from my father, son of Kronos, and the other gods
to bring me from Erebos, so you could see me and give up anger and dread wrath against the gods, I leapt with joy, but secretly Kronos’ other son
put into me a pomegranate seed, honey-sweet food, compelling me by force to eat, most unwillingly. According to Mullen, Persephone knew what she was doing and
lied to her mother, claiming “technical virginity: / ‘I only swallowed his seeds’” (1981: 31): So now you lead a double life,
you two-faced hussy. In spring you do the fake virgin act to please your ma, who pretends to believe it. But in the dark cold months of winter
you heat the sheets of Hades when your lusty lover takes his share. A surprising interpretation indeed, yet based on the hymn. Mullen’s
ext 60
“Miss Persephone” also illustrates how myths change, granting us license to join in the conversation. In my husband’s
classroom, his students explored these three scenarios: Would Persephone be unhappy with her time split between mother and
husband? Before they reach the final compromise, whereby Persephone will split each year between Hades and Demeter,
what would a family meeting or therapy session with Zeus, Demeter, and Persephone discover? What might any of the four
major characters write in a letter to one of the others? Even versions that veer far from the myth, such as the film Percy Jackson and the Lightning Thief
(2010), in which the child, a son, rescues his kidnapped mother from Hades, can draw us back to the book. Is this merely a reversal of mother and child
ext 66
to fit the young adult genre? Or is Percy Jackson playing Demophon, the son Demeter tries to steal into immortality, who could
be more powerful than Zeus and be able to cross the boundaries of death and return? The Hymn to Helios 31 and the Hymn to Selene 32 state in
their last lines that they were meant as preludes before epic tales. Let us continue to read and remember the Homeric Hymns
introductions to a range of ancient and modern literature and topics.
Theme: second edition.
Theme: teaching pairings.
Theme: marriage and death.
Theme: Dionysos fragments.
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Introduction
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Clay's frame: Zeus has power, but details of honour are still unsettled in the long hymns.
Introduction The Homeric Hymns have survived for two and a half millennia because of their captivating stories, beautiful language, and religious
significance. I have been teaching the Hymns in courses-mythology, classical literature, women in antiquity, and Greek
language-for many years. I love them, and my students usually do too. The myths in these poems raise questions that humanity
still struggles to answer-questions about our relationships with others and our place in the world. The Homeric Hymns is a collection of thirty-four poems:
thirty-three invoke and celebrate the gods and one addresses “hosts,” either the hosts of the immediate performance or all those
Introduction: mech 1
in general who provide hospitality. The Hymns are “Homeric” because they are composed in the same traditional epic meter
(dactylic hexameter), dialect, and style as Homer’s Iliad and Odyssey . They are “hymns” in that each poem celebrates the attributes
or epiphany of the god or goddess to whom the hymn is addressed. The longer hymns worship a deity by telling the story
of how he or she obtains or exercises power. In general, the hymns express the essence of the particular deity. Although Thucydides
(3.104), our earliest reference to the Hymns , assumes that Homer himself composed and performed these works, they are
Introduction: mech 2
actually anonymous poems. Most were written in the archaic and early classical periods in Greece (700-500
B.C.E. ); a few may have been composed as late as Hellenistic times (third to second centuries
B.C.E. ), and one may be from fifth century C.E. (see the notes Ares 8). The earliest Hymns may be contemporary with the
poetry of Homer and Hesiod; more likely, they appeared immediately afterward. SURVIVAL The Homeric Hymns were collected in antiquity and set in the
order presented here. Multiple copies of the collection that survive from the Byzantine period begin with the third hymn, the Hymn to Apollo
Introduction: mech 3
- These manuscripts were attached to copies of Homer’s epics or were included with the works of later poets. It is unknown how the Hymn to Ares
8, which does not match the others in style or subject, came to be included with the others. The editors of the standard English-language commentary on the Hymns
speculate that “some one at a late period, observing there was no hymn to Ares in the collection, added this one, and
put it in the 8th place to come alphabetically before Artemis” (Allen, Halliday, and Sikes 1936: 385). Chance and good luck led
to the survival of a fragment of the Hymn to Dionysos (1.10-21) and the entire Hymn to Demeter 2 in a fifteenth-century
Introduction: mech 4
C.E. manuscript, which was discovered in a stable in Moscow in 1777. RELIGIOUS MEANING The Hymns provide introductions to the principal ancient Greek
deities, and they include some of the earliest literary references to key religious rituals and sites. The Hymn to Demeter 2, one of the
most beautiful and moving stories in Greek literature, is also the earliest literary version of one of the myths behind the foundation
of the Eleusinian Mysteries, a popular mystery religion practiced from the eighth century
B.C.E. to the fourth century C.E. Its story of Demeter and her daughter, Persephone or Kore (Girl), is the
Introduction: mech 5
basis of various women’s festivals, such as the Thesmophoria. Similarly, the Hymn to Apollo 3 describes the mythical foundation
of Delphi, the most famous oracular site in ancient Greece. In religious terms, to “hymn” the god is to sing a song of
praise, to celebrate the god through song. Most of the Homeric Hymns end with a prayer to the god of that hymn. The ancient
singer (bard) and community worshipped the deity through the song. The poet’s rendition of these stories was synonymous with
worship; their telling invoked the gods even as it recalled events that changed the world. Because Apollo slew the dragon and established
Introduction: mech 6
his temple at Delphi, ancient worshippers believed, they were granted access to “unerring counsel” ( Apollo
3.253, 293). They could go to Delphi and consult Apollo through his oracle. Because Demeter experienced the loss and recovery of her
daughter Persephone, she established the Eleusinian Mysteries. For initiates, the daughter’s descent to the underworld and return
continued annually, giving them hope for better afterlives. These foundation or birth myths had essential significance for
communities of worshippers. PERFORMANCE The genre of Homeric hymns probably began as short introductions
Introduction: mech 7
to the long recitations of traditional, oral epic poetry that was popular centuries before the advent of writing in Greece in the eighth century
B.C.E. Most of the short hymns in this collection seem appropriate invocations to a god in prelude to a narrative
tale; two hymns (31 and 32) specifically say in conclusion that the bard will next turn to a recitation of epic poetry:
I will sing about the glory of demigods, whose deeds the bards, servants of the Muses, celebrate in sweet song. (32.19-20)
As these “preludes” grew into longer, more complex narrative tales, the recitation of the hymn may have become the main
Introduction: mech 8
event. It is possible, though, that even the long hymns continued to be preludes: Thucydides (3.104) refers to the 546-line Hymn to Apollo 3 as a prooimion
(prelude). The Homeric Hymns were “sung or recited solo by specialists” who “preserved traditional material and passed it on, not in fixed
form but through recomposition-in-performance,” a kind of improvisation based on familiarity with a long oral poetic tradition
(Stehle 1997: 170). Early on, those specialists or bards were called singers (aoidoi)
and perhaps accompanied their songs with a lyre. Later, rhapsodes (literally, “stitchers of songs”) recited poetry,
Introduction: mech 9
while beating time with a staff. Bards traveled throughout the Greek world to perform on a variety of special occasions: “Music
played a role in every moment of Greek communal life-in religious ceremonies, competitions, symposia, festivals, even in political
contentions” (Comotti 1989: 6). Many performances took place in competitions sponsored by religious centers, states, kings, or prominent families. The
Hymn to Apollo 3 may have been performed in the competitions at Delphi, or perhaps at the festival of Apollo on the island of Delos that is mentioned in the
hymn itself (149-64). Bards may have sung the Hymn to Demeter 2 at religious festivals such as the Eleusinian Mysteries at Eleusis,
Introduction: mech 10
or any of the local women’s festivals in honor of Demeter, such as the Thesmophoria. Perhaps the Hymn to Aphrodite 5 was
performed at a private banquet, like the one in the Odyssey which the bard sings of Ares and Aphrodite’s adulterous affair (8.256-366). The Hymn to Hermes
4 would be perfect fare for young men at a symposium or a feast, as mentioned in the hymn, when Hermes sings in accompaniment to his newly invented lyre
(55-59). Ten of the hymns state the context of the performance (“grant me victory in this contest, ready my song,” 6.20) or make a request
to the god for prosperity (“gladly grant a welcome livelihood for my song,” 2.494). Thus, at the end of these hymns, the
Introduction: mech 11
bard asks that the god praised in the hymn bestow success. In order to win a contest or otherwise perform a hymn successfully,
the bard would need to select and shape material drawn from the vast range of possibilities offered by the oral poetic tradition.
Since many stories and powers are connected with each god, the bard had to choose the details that would best serve the god in
the context of a particular performance. In the Hymn to Apollo the bard twice asks Apollo, “How to praise you, celebrated in so
many hymns?” (3.19, 207), before settling on a specific part of the story. According to Eva Stehle, the bard must “persuade the audience
Introduction: mech 12
that he speaks ‘truth’ either by adapting his story to local interests . . . and winning assent that way or by offering a ‘Panhellenic’
story that includes no concession to the audience but signals its validity through its rhetoric” (1997: 174-75). FORMAL STYLE
The hymn is a distinctive genre with formal features, including a characteristic structure (Janko 1981). Like the Iliad and Odyssey the Homeric hymns use
formulae , the building blocks of oral composition, in which phrases recur repeatedly in the same metrical
position in the dactylic hexameter line. Short formulae, such as the epithets “rich-haired Demeter” or “far-shooting Apollo,” recur frequently in the Hymns
Introduction: mech 13
. It usually is thought that this use of set formulae provided breathing space for the bard to improvise,
but the repeated epithets also help characterize the deities-the goddess of grain and fertility, earth mother Demeter, grows
abundant hair, and Apollo, god of healing and plague, shoots his arrows of sickness from far off. Most of the hymns begin with a formulaic introduction, such
as “I sing to Pallas Athena, dread guardian of the city” (11.1). In the Greek, the god’s name appears in the first line of thirty-one
of the thirty-three hymns (all but Dionysos 1 and Pan 19); in most, it is the first word. At some point in the hymn, usually at the end,
Introduction: mech 14
the poet directly addresses the deity. As in traditional Greek prayers, the hymn always invokes the deity by name and major
attributes, and often mentions important cult sites or other mythological connections, as in this Hymn to Aphrodite (the Cyprian):
I will sing to Cyprian Cytheria, who gives kind gifts to mortals; on her lovely face,
ever smiling, an alluring bloom shimmers. Hail, Goddess, ruling well-built Salamis and Cyprus in the sea: give me an alluring song, (10.1-5)
All but two of the hymns to gods have formulaic endings; the Hymn to Hera 12 is probably incomplete, and the Hymn to Ares
Introduction: mech 15
is more of a “cletic” or summoning prayer and, as noted above, was written far later than the rest of the collection. The closing
formulae range from two to four lines. Twenty-nine of the thirty-three address the deity with the salutation “khaire” (“hail,” “farewell,” “rejoice”):
Hail, child of fair Semele! There is no way to forget you and still compose sweet song. (Dionysos 7.58-59)
Fifteen hymns end with a variation of “I began with you and will turn to the rest of the hymn” (5.293), or “But I will remember
you and the rest of the song” (2.495). This means that the poet invokes the god’s presence by singing that hymn-“remembering
Introduction: mech 16
is making present”-and now will move on to sing the next part of the song, perhaps an epic tale (see Bakker 2002: 72). The word in Greek for “the rest of”
(allos) could mean “another,” which then would refer to another, separate song that the bard plans to sing. In time, the closing formula may also have become
simply a traditional way to end a hymn, without referring to an actual transition from one part of the song to another or from
one song to a different one. LONG HYMNS The Hymns consist of four long narrative poems (293 to 580 lines)
and twenty-nine short poems (3 to 59 lines). While a few of the short hymns are narratives, most are invocations that provide snapshots
Introduction: mech 17
of the gods. The long narratives- Hymns 2-5, to Demeter, Apollo, Hermes, and Aphrodite-each tell a revealing story about
a critical event in the deity’s life that led to a change in his or her power. They show the cosmos itself in the process of being ordered
in its details, though its broad patterns are already in place. Zeus’ rule, too, is new and perhaps not yet firmly established. The story
of the divine domain as told in the Hymns provides the missing link between Hesiod’s Theogony
and Homer’s epics (see Clay 1989: 11). Zeus first takes power in the Theogony; in Homer, this power is
Introduction: mech 18
firmly set and unchallenged, and the hierarchy of the gods fixed. Homer shifts the focus from the gods’ power struggles with one
another to their relationships to human beings. Even Hera’s conflicts with Zeus in the Iliad are, in the end, ineffectual and do
not seriously challenge his power or the world order. In the long hymns, while all four gods are subordinate to Zeus,
they remain potentially threatening, and their power gives us a more complete and complex picture of the Greek worldview.
Three gods-Apollo, Hermes, and Aphrodite-are Zeus’ children; Demeter is his sister and the mother of his daughter Persephone.
Introduction: mech 19
Apollo and Hermes could have challenged Zeus’ authority, but do not. Demeter does challenge Zeus. The Hymn to Aphrodite
states that Aphrodite has disrupted Zeus in the past, by “mating him with mortal women,” making him “forget Hera,
sister and wife” (5.39-40). Zeus’ children ultimately submit to Zeus’ order. Demeter is also integrated into or subordinated to
the Olympian patriarchy-although, perhaps, she finds a way to make that order acceptable to her. The two hymns celebrating male gods tell the tale of Apollo’s
and Hermes’ births, how they got their powers and won their places in the pantheon. Apollo could have been a threat to Zeus;
Introduction: mech 20
the other gods fear him before his birth, because “they say Apollo will be extremely reckless/and rule mightily over the immortal
gods” (3.67-68). Instead, the hymn makes clear that Apollo works for his father and in his interests. As Apollo says immediately
after his birth, “I will proclaim to humans the unerring will of Zeus” (3.132). The trickster Hermes, too, had the potential to disrupt Zeus’
order. However, while his thievery and cleverness get the better of his half-brother Apollo, Hermes’ birth is shown to be according
to Zeus’ will (4.10). As Maia, Hermes’ mother, says, “Your father bore you to be a great pest/for mortal men and immortal
Introduction: mech 21
gods” (4.160-61). When the newborn Hermes denies Apollo’s truthful claim that Hermes stole his cattle, “Zeus laughed aloud
to see his deceitful child/so skillfully deny the business of the cattle” (4.389-90). Hermes tricks his brother, but leaves Zeus alone. In contrast, in Hesiod’s
Theogony , when the trickster Prometheus challenges Zeus’ authority (521-25), Zeus punishes him severely.
As celebrated in the two hymns, Apollo and Hermes gain their spheres of power and join the family of gods headed by father
Zeus: “the two handsome children of Zeus/hastened to snow-covered Olympos” (4.504-5). The two hymns to the female goddesses, Demeter and
Introduction: mech 22
Aphrodite, differ strikingly from those to Apollo and Hermes. Demeter and Aphrodite are fully mature goddesses in these
poems, which celebrate their primary aspects of fertility and sexuality, respectively. Yet both hymns tell stories that demonstrate
restrictions on Demeter’s and Aphrodite’s powers. The Hymn to Aphrodite celebrates a distinct limitation of
Aphrodite’s power over sexuality. Zeus contrives Aphrodite’s defeat and humiliation through her own sexuality. Aphrodite had
been demonstrating her power over all the gods, including Zeus, by making them lose control, mate with humans, and give birth
Introduction: mech 23
to or father mortal children. Her power threatens Zeus, “deceiving even his strong mind whenever she wished,/easily mating
him with mortal women” (5.38-39). In order to stop the intermingling of human and divine, and to establish firmly his own
rule, Zeus usurps Aphrodite’s power: “Casting sweet desire into Aphrodite’s own heart,/Zeus made her long for a human man”
(5.45-46). By having sex with a mortal man, Aphrodite is reduced to the same shameful position as the gods she previously
manipulated. Once on their level, she loses her special power over the other gods to make them mate with humans, though she does
Introduction: mech 24
maintain her ability to cause humans, animals, and even gods to desire their own kind. The Hymn to Demeter celebrates Demeter’s power and her
rescue of Persephone from the underworld. Unlike Aphrodite, she does not explicitly lose any established powers. In the hymn,
Zeus attempts to assert his control over Demeter, but his plans are only partially fulfilled, and then not through his own doing.
When Zeus gives his and Demeter’s daughter to their brother Hades, he ignores Demeter’s rights as a goddess and mother.
When Demeter challenges Zeus by withdrawing her fertility from the earth, and famine results, Zeus must recall Persephone
Introduction: mech 25
from the underworld. Demeter thus successfully challenges Zeus to win her daughter’s return, but Hades foils a complete reversal.
Persephone must return to Hades for a third of each year because Hades “put into” her a pomegranate seed (2.412), which
binds her to him. Earlier in the poem, Demeter’s attempt to make a human boy immortal, perhaps to compensate for her loss of
Persephone and to contrive against Zeus and Hades, also fails. Just as each year Persephone must return to the underworld, so
humans must die-Demeter cannot grant immortality. Yet despite the inevitability of death, Demeter gives humanity continuity
Introduction: mech 26
by returning fertility to the land and people; through children, a kind of immortality becomes possible. The Hymn to Demeter seems to be told from the mother’s
point of view, and gives equal weight to the glory of the life-giving powers of the mother and her sadness over the loss of her
daughter. The hymn emphasizes first Demeter’s limitations, then her strength, and Persephone’s new role as queen of the underworld.
According to Ann Suter, a woman may have composed this anonymous hymn. The focus on Demeter’s power, Persephone’s
coming-of-age, and the mother-daughter relationship, as well as the de-emphasis of Zeus, may point in that direction
Introduction: mech 27
(Suter 2005). We know that female poets, such as Sappho and Korinna, composed dactylic hexameter verses. In examining the Hymn to Aphrodite
, Richard Janko notes “a number of verbal parallels between its opening and Sappho’s epicising narrative of the wedding of Hektor and Andromache (44 L-P)”
(1982: 169-70). Korinna says she reworks “stories from our fathers’ time” and sings of “heroes/male and female” (Rayor 1991:
1.9, 10.1-2). It is possible that other women composed hymns or epic verse, although their performance venues certainly would
be more limited than those for traditional bardic poetry. TRANSLATION Because the hymns were composed for performance, I focused
Introduction: mech 28
Extended pass
Introduction The Homeric Hymns have survived for two and a half millennia because of their captivating stories, beautiful language, and religious
ext 0
significance. I have been teaching the Hymns in courses-mythology, classical literature, women in antiquity, and Greek
language-for many years. I love them, and my students usually do too. The myths in these poems raise questions that humanity
still struggles to answer-questions about our relationships with others and our place in the world. The Homeric Hymns is a collection of thirty-four poems:
thirty-three invoke and celebrate the gods and one addresses “hosts,” either the hosts of the immediate performance or all those
in general who provide hospitality. The Hymns are “Homeric” because they are composed in the same traditional epic meter
(dactylic hexameter), dialect, and style as Homer’s Iliad and Odyssey . They are “hymns” in that each poem celebrates the attributes
ext 6
or epiphany of the god or goddess to whom the hymn is addressed. The longer hymns worship a deity by telling the story
of how he or she obtains or exercises power. In general, the hymns express the essence of the particular deity. Although Thucydides
(3.104), our earliest reference to the Hymns , assumes that Homer himself composed and performed these works, they are
actually anonymous poems. Most were written in the archaic and early classical periods in Greece (700-500
B.C.E. ); a few may have been composed as late as Hellenistic times (third to second centuries
B.C.E. ), and one may be from fifth century C.E. (see the notes Ares 8). The earliest Hymns may be contemporary with the
ext 12
poetry of Homer and Hesiod; more likely, they appeared immediately afterward. SURVIVAL The Homeric Hymns were collected in antiquity and set in the
order presented here. Multiple copies of the collection that survive from the Byzantine period begin with the third hymn, the Hymn to Apollo
- These manuscripts were attached to copies of Homer’s epics or were included with the works of later poets. It is unknown how the Hymn to Ares
8, which does not match the others in style or subject, came to be included with the others. The editors of the standard English-language commentary on the Hymns
speculate that “some one at a late period, observing there was no hymn to Ares in the collection, added this one, and
put it in the 8th place to come alphabetically before Artemis” (Allen, Halliday, and Sikes 1936: 385). Chance and good luck led
ext 18
to the survival of a fragment of the Hymn to Dionysos (1.10-21) and the entire Hymn to Demeter 2 in a fifteenth-century
C.E. manuscript, which was discovered in a stable in Moscow in 1777. RELIGIOUS MEANING The Hymns provide introductions to the principal ancient Greek
deities, and they include some of the earliest literary references to key religious rituals and sites. The Hymn to Demeter 2, one of the
most beautiful and moving stories in Greek literature, is also the earliest literary version of one of the myths behind the foundation
of the Eleusinian Mysteries, a popular mystery religion practiced from the eighth century
B.C.E. to the fourth century C.E. Its story of Demeter and her daughter, Persephone or Kore (Girl), is the
ext 24
basis of various women’s festivals, such as the Thesmophoria. Similarly, the Hymn to Apollo 3 describes the mythical foundation
of Delphi, the most famous oracular site in ancient Greece. In religious terms, to “hymn” the god is to sing a song of
praise, to celebrate the god through song. Most of the Homeric Hymns end with a prayer to the god of that hymn. The ancient
singer (bard) and community worshipped the deity through the song. The poet’s rendition of these stories was synonymous with
worship; their telling invoked the gods even as it recalled events that changed the world. Because Apollo slew the dragon and established
his temple at Delphi, ancient worshippers believed, they were granted access to “unerring counsel” ( Apollo
ext 30
3.253, 293). They could go to Delphi and consult Apollo through his oracle. Because Demeter experienced the loss and recovery of her
daughter Persephone, she established the Eleusinian Mysteries. For initiates, the daughter’s descent to the underworld and return
continued annually, giving them hope for better afterlives. These foundation or birth myths had essential significance for
communities of worshippers. PERFORMANCE The genre of Homeric hymns probably began as short introductions
to the long recitations of traditional, oral epic poetry that was popular centuries before the advent of writing in Greece in the eighth century
B.C.E. Most of the short hymns in this collection seem appropriate invocations to a god in prelude to a narrative
ext 36
tale; two hymns (31 and 32) specifically say in conclusion that the bard will next turn to a recitation of epic poetry:
I will sing about the glory of demigods, whose deeds the bards, servants of the Muses, celebrate in sweet song. (32.19-20)
As these “preludes” grew into longer, more complex narrative tales, the recitation of the hymn may have become the main
event. It is possible, though, that even the long hymns continued to be preludes: Thucydides (3.104) refers to the 546-line Hymn to Apollo 3 as a prooimion
(prelude). The Homeric Hymns were “sung or recited solo by specialists” who “preserved traditional material and passed it on, not in fixed
form but through recomposition-in-performance,” a kind of improvisation based on familiarity with a long oral poetic tradition
ext 42
(Stehle 1997: 170). Early on, those specialists or bards were called singers (aoidoi)
and perhaps accompanied their songs with a lyre. Later, rhapsodes (literally, “stitchers of songs”) recited poetry,
while beating time with a staff. Bards traveled throughout the Greek world to perform on a variety of special occasions: “Music
played a role in every moment of Greek communal life-in religious ceremonies, competitions, symposia, festivals, even in political
contentions” (Comotti 1989: 6). Many performances took place in competitions sponsored by religious centers, states, kings, or prominent families. The
Hymn to Apollo 3 may have been performed in the competitions at Delphi, or perhaps at the festival of Apollo on the island of Delos that is mentioned in the
ext 48
hymn itself (149-64). Bards may have sung the Hymn to Demeter 2 at religious festivals such as the Eleusinian Mysteries at Eleusis,
or any of the local women’s festivals in honor of Demeter, such as the Thesmophoria. Perhaps the Hymn to Aphrodite 5 was
performed at a private banquet, like the one in the Odyssey which the bard sings of Ares and Aphrodite’s adulterous affair (8.256-366). The Hymn to Hermes
4 would be perfect fare for young men at a symposium or a feast, as mentioned in the hymn, when Hermes sings in accompaniment to his newly invented lyre
(55-59). Ten of the hymns state the context of the performance (“grant me victory in this contest, ready my song,” 6.20) or make a request
to the god for prosperity (“gladly grant a welcome livelihood for my song,” 2.494). Thus, at the end of these hymns, the
ext 54
bard asks that the god praised in the hymn bestow success. In order to win a contest or otherwise perform a hymn successfully,
the bard would need to select and shape material drawn from the vast range of possibilities offered by the oral poetic tradition.
Since many stories and powers are connected with each god, the bard had to choose the details that would best serve the god in
the context of a particular performance. In the Hymn to Apollo the bard twice asks Apollo, “How to praise you, celebrated in so
many hymns?” (3.19, 207), before settling on a specific part of the story. According to Eva Stehle, the bard must “persuade the audience
that he speaks ‘truth’ either by adapting his story to local interests . . . and winning assent that way or by offering a ‘Panhellenic’
ext 60
story that includes no concession to the audience but signals its validity through its rhetoric” (1997: 174-75). FORMAL STYLE
The hymn is a distinctive genre with formal features, including a characteristic structure (Janko 1981). Like the Iliad and Odyssey the Homeric hymns use
formulae , the building blocks of oral composition, in which phrases recur repeatedly in the same metrical
position in the dactylic hexameter line. Short formulae, such as the epithets “rich-haired Demeter” or “far-shooting Apollo,” recur frequently in the Hymns
. It usually is thought that this use of set formulae provided breathing space for the bard to improvise,
but the repeated epithets also help characterize the deities-the goddess of grain and fertility, earth mother Demeter, grows
ext 66
abundant hair, and Apollo, god of healing and plague, shoots his arrows of sickness from far off. Most of the hymns begin with a formulaic introduction, such
as “I sing to Pallas Athena, dread guardian of the city” (11.1). In the Greek, the god’s name appears in the first line of thirty-one
of the thirty-three hymns (all but Dionysos 1 and Pan 19); in most, it is the first word. At some point in the hymn, usually at the end,
the poet directly addresses the deity. As in traditional Greek prayers, the hymn always invokes the deity by name and major
attributes, and often mentions important cult sites or other mythological connections, as in this Hymn to Aphrodite (the Cyprian):
I will sing to Cyprian Cytheria, who gives kind gifts to mortals; on her lovely face,
ext 72
ever smiling, an alluring bloom shimmers. Hail, Goddess, ruling well-built Salamis and Cyprus in the sea: give me an alluring song, (10.1-5)
All but two of the hymns to gods have formulaic endings; the Hymn to Hera 12 is probably incomplete, and the Hymn to Ares
is more of a “cletic” or summoning prayer and, as noted above, was written far later than the rest of the collection. The closing
formulae range from two to four lines. Twenty-nine of the thirty-three address the deity with the salutation “khaire” (“hail,” “farewell,” “rejoice”):
Hail, child of fair Semele! There is no way to forget you and still compose sweet song. (Dionysos 7.58-59)
Fifteen hymns end with a variation of “I began with you and will turn to the rest of the hymn” (5.293), or “But I will remember
ext 78
you and the rest of the song” (2.495). This means that the poet invokes the god’s presence by singing that hymn-“remembering
is making present”-and now will move on to sing the next part of the song, perhaps an epic tale (see Bakker 2002: 72). The word in Greek for “the rest of”
(allos) could mean “another,” which then would refer to another, separate song that the bard plans to sing. In time, the closing formula may also have become
simply a traditional way to end a hymn, without referring to an actual transition from one part of the song to another or from
one song to a different one. LONG HYMNS The Hymns consist of four long narrative poems (293 to 580 lines)
and twenty-nine short poems (3 to 59 lines). While a few of the short hymns are narratives, most are invocations that provide snapshots
ext 84
of the gods. The long narratives- Hymns 2-5, to Demeter, Apollo, Hermes, and Aphrodite-each tell a revealing story about
a critical event in the deity’s life that led to a change in his or her power. They show the cosmos itself in the process of being ordered
in its details, though its broad patterns are already in place. Zeus’ rule, too, is new and perhaps not yet firmly established. The story
of the divine domain as told in the Hymns provides the missing link between Hesiod’s Theogony
and Homer’s epics (see Clay 1989: 11). Zeus first takes power in the Theogony; in Homer, this power is
firmly set and unchallenged, and the hierarchy of the gods fixed. Homer shifts the focus from the gods’ power struggles with one
ext 90
another to their relationships to human beings. Even Hera’s conflicts with Zeus in the Iliad are, in the end, ineffectual and do
not seriously challenge his power or the world order. In the long hymns, while all four gods are subordinate to Zeus,
they remain potentially threatening, and their power gives us a more complete and complex picture of the Greek worldview.
Three gods-Apollo, Hermes, and Aphrodite-are Zeus’ children; Demeter is his sister and the mother of his daughter Persephone.
Apollo and Hermes could have challenged Zeus’ authority, but do not. Demeter does challenge Zeus. The Hymn to Aphrodite
states that Aphrodite has disrupted Zeus in the past, by “mating him with mortal women,” making him “forget Hera,
ext 96
sister and wife” (5.39-40). Zeus’ children ultimately submit to Zeus’ order. Demeter is also integrated into or subordinated to
the Olympian patriarchy-although, perhaps, she finds a way to make that order acceptable to her. The two hymns celebrating male gods tell the tale of Apollo’s
and Hermes’ births, how they got their powers and won their places in the pantheon. Apollo could have been a threat to Zeus;
the other gods fear him before his birth, because “they say Apollo will be extremely reckless/and rule mightily over the immortal
gods” (3.67-68). Instead, the hymn makes clear that Apollo works for his father and in his interests. As Apollo says immediately
after his birth, “I will proclaim to humans the unerring will of Zeus” (3.132). The trickster Hermes, too, had the potential to disrupt Zeus’
ext 102
order. However, while his thievery and cleverness get the better of his half-brother Apollo, Hermes’ birth is shown to be according
to Zeus’ will (4.10). As Maia, Hermes’ mother, says, “Your father bore you to be a great pest/for mortal men and immortal
gods” (4.160-61). When the newborn Hermes denies Apollo’s truthful claim that Hermes stole his cattle, “Zeus laughed aloud
to see his deceitful child/so skillfully deny the business of the cattle” (4.389-90). Hermes tricks his brother, but leaves Zeus alone. In contrast, in Hesiod’s
Theogony , when the trickster Prometheus challenges Zeus’ authority (521-25), Zeus punishes him severely.
As celebrated in the two hymns, Apollo and Hermes gain their spheres of power and join the family of gods headed by father
ext 108
Zeus: “the two handsome children of Zeus/hastened to snow-covered Olympos” (4.504-5). The two hymns to the female goddesses, Demeter and
Aphrodite, differ strikingly from those to Apollo and Hermes. Demeter and Aphrodite are fully mature goddesses in these
poems, which celebrate their primary aspects of fertility and sexuality, respectively. Yet both hymns tell stories that demonstrate
restrictions on Demeter’s and Aphrodite’s powers. The Hymn to Aphrodite celebrates a distinct limitation of
Aphrodite’s power over sexuality. Zeus contrives Aphrodite’s defeat and humiliation through her own sexuality. Aphrodite had
been demonstrating her power over all the gods, including Zeus, by making them lose control, mate with humans, and give birth
ext 114
to or father mortal children. Her power threatens Zeus, “deceiving even his strong mind whenever she wished,/easily mating
him with mortal women” (5.38-39). In order to stop the intermingling of human and divine, and to establish firmly his own
rule, Zeus usurps Aphrodite’s power: “Casting sweet desire into Aphrodite’s own heart,/Zeus made her long for a human man”
(5.45-46). By having sex with a mortal man, Aphrodite is reduced to the same shameful position as the gods she previously
manipulated. Once on their level, she loses her special power over the other gods to make them mate with humans, though she does
maintain her ability to cause humans, animals, and even gods to desire their own kind. The Hymn to Demeter celebrates Demeter’s power and her
ext 120
rescue of Persephone from the underworld. Unlike Aphrodite, she does not explicitly lose any established powers. In the hymn,
Zeus attempts to assert his control over Demeter, but his plans are only partially fulfilled, and then not through his own doing.
When Zeus gives his and Demeter’s daughter to their brother Hades, he ignores Demeter’s rights as a goddess and mother.
When Demeter challenges Zeus by withdrawing her fertility from the earth, and famine results, Zeus must recall Persephone
from the underworld. Demeter thus successfully challenges Zeus to win her daughter’s return, but Hades foils a complete reversal.
Persephone must return to Hades for a third of each year because Hades “put into” her a pomegranate seed (2.412), which
ext 126
binds her to him. Earlier in the poem, Demeter’s attempt to make a human boy immortal, perhaps to compensate for her loss of
Persephone and to contrive against Zeus and Hades, also fails. Just as each year Persephone must return to the underworld, so
humans must die-Demeter cannot grant immortality. Yet despite the inevitability of death, Demeter gives humanity continuity
by returning fertility to the land and people; through children, a kind of immortality becomes possible. The Hymn to Demeter seems to be told from the mother’s
point of view, and gives equal weight to the glory of the life-giving powers of the mother and her sadness over the loss of her
daughter. The hymn emphasizes first Demeter’s limitations, then her strength, and Persephone’s new role as queen of the underworld.
ext 132
According to Ann Suter, a woman may have composed this anonymous hymn. The focus on Demeter’s power, Persephone’s
coming-of-age, and the mother-daughter relationship, as well as the de-emphasis of Zeus, may point in that direction
(Suter 2005). We know that female poets, such as Sappho and Korinna, composed dactylic hexameter verses. In examining the Hymn to Aphrodite
, Richard Janko notes “a number of verbal parallels between its opening and Sappho’s epicising narrative of the wedding of Hektor and Andromache (44 L-P)”
(1982: 169-70). Korinna says she reworks “stories from our fathers’ time” and sings of “heroes/male and female” (Rayor 1991:
1.9, 10.1-2). It is possible that other women composed hymns or epic verse, although their performance venues certainly would
ext 138
be more limited than those for traditional bardic poetry. TRANSLATION Because the hymns were composed for performance, I focused
Theme: genre.
Theme: performance.
Theme: long vs short.
Theme: translation.
Theme: Zeus order.
Introduction: mechanism 1
Introduction: chain 1
Introduction: hub 1
Introduction: mechanism 2
Introduction: mechanism 3
Introduction: mechanism 4
Introduction: chain 4
Introduction: mechanism 5
Introduction: hub 5
Introduction: mechanism 6
Introduction: mechanism 7
Introduction: chain 7
Introduction: mechanism 8
Introduction: mechanism 9
Introduction: hub 9
Introduction: mechanism 10
Introduction: chain 10
Introduction: mechanism 11
Introduction: mechanism 12
Introduction: mechanism 13
Introduction: chain 13
Introduction: hub 13
Introduction: mechanism 14
Introduction: mechanism 15
Introduction: mechanism 16
Introduction: chain 16
Introduction: mechanism 17
Introduction: hub 17
Introduction: mechanism 18
Introduction: mechanism 19
Introduction: chain 19
Introduction: mechanism 20
Introduction: mechanism 21
Introduction: hub 21
Introduction: mechanism 22
Introduction: chain 22
Introduction: mechanism 23
Introduction: mechanism 24
Introduction: mechanism 25
Introduction: chain 25
Introduction: hub 25
Introduction: mechanism 26
Introduction: mechanism 27
Introduction: mechanism 28
Introduction: chain 28
Introduction: mechanism 29
Introduction: hub 29
Introduction: mechanism 30
Introduction: mechanism 31
Introduction: chain 31
Introduction: mechanism 32
Introduction: mechanism 33
Introduction: hub 33
Introduction: mechanism 34
Introduction: chain 34
Introduction: mechanism 35
Introduction: mechanism 36
Introduction: mechanism 37
Introduction: chain 37
Introduction: hub 37
Introduction: mechanism 38
Introduction: mechanism 39
Introduction: mechanism 40
Introduction: chain 40
Introduction: mechanism 41
Introduction: hub 41
Introduction: mechanism 42
Introduction: mechanism 43
Introduction: chain 43
Introduction: mechanism 44
Introduction: mechanism 45
Introduction: hub 45
Introduction: mechanism 46
Introduction: chain 46
Introduction: mechanism 47
Introduction: mechanism 48
Introduction: mechanism 49
Introduction: chain 49
Introduction: hub 49
Introduction: mechanism 50
Introduction: mechanism 51
Introduction: mechanism 52
Introduction: chain 52
Introduction: mechanism 53
Introduction: hub 53
Introduction: mechanism 54
Introduction: mechanism 55
Introduction: chain 55
Introduction: mechanism 56
Hymn 1 to Dionysos
Hymn 1 Dionysos: spine
Hymn 1 Dionysos: chain
Hymn 1 Dionysos: hub
Central claim
Dionysos must be recognised and seated among the gods; hostility and acceptance share one plot. Performance and cult honour share one plot under Zeus.
Birth Nysa: place named. The hymn moves one notch of honour or cost.
Hymn 1 Dionysos: beat 0
Hera anger: threat. The hymn moves one notch of honour or cost.
Fragments: gaps. The hymn moves one notch of honour or cost.
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Olympos: acceptance. The hymn moves one notch of honour or cost.
khaire: close. The hymn moves one notch of honour or cost.
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Second pass
- HYMN TO DIONYSOS Some say in Drakanos, others in windy Ikaros, still others say in Naxos, O Bullgod son of Zeus, or there by the deep-eddying river Alpheos,
pregnant Semele bore you to thunder-loving Zeus. Others say you were born in Thebes, Lord, but all of them lie: the father of men and gods gave birth
to you far from people, hidden from white-armed Hera. Nysa is the place, a mighty peak blooming with woods,
Hymn 1 Dionysos: band 1
far from Phoenicia, near the river Nile. None of the human race sails there, with no harbor for their curved ships,
for a high, steep cliff encircles it. Yet it grows many lovely delicacies . . . [missing lines]
[Vines] lush with their clusters of dark grapes . . . [missing lines] [Zeus to Hera:]
“. . . you wish. How could you suffer more shamefully? I too acted foolishly . . .
. . . Hephaistos left on his own . . . . . . as they assume forever . . . He tricked you, binding you in chains from Tartaros.
Who, my dear, can free you? A painful belt wraps around your body, while Hephaistos pays no mind to command or plea,
Hymn 1 Dionysos: band 3
but devises firm resolve in his heart. Sister, you bore a cruel son . . . . crafty though lame . . .
. . . before his feet . . . good . . . . . . he rages . . . . . . angry . . . Let us see if he will soften his iron heart at all.
Two smart sons of mine are handy to help in your troubles-Ares is one, who wields a sharp spear, a tough fighter . . .
And there is Dionysos . . . But Hephaistos better not start a contest with me or he will stagger away struck by my lightning.
. . . sweet . . . . . . this boy of mine . . . [missing lines] People will raise many statues in his temples. Since there are three . . . , every third year
humans will always sacrifice a hundred perfect bulls.” So spoke the son of Kronos nodding his dark-blue brows- the king’s divine hair swirled about
Hymn 1 Dionysos: band 5
his immortal head, as he shook great Olympos. With those words, wise Zeus nodded his command.
Be gracious, Bullgod, maker of maenads. We bards sing of you first and last; there is no way
to forget you and still remember holy song. O Dionysos, Bullgod son of Zeus, rejoice
with your mother Semele, whom some call Thyone.
Hymn 1 Dionysos: band 7
Characters and arcs
Dionysos matters as god of wine and recognition. Track speech, gift, shame, and seat.
Hera matters as hostile queen. Track speech, gift, shame, and seat.
Zeus matters as father. Track speech, gift, shame, and seat.
Semele matters as mortal mother. Track speech, gift, shame, and seat.
Nysa matters as birth place. Track speech, gift, shame, and seat.
Themes, motifs, style
Theme: birth. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Hera hostility. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: acceptance. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: fragments. Rayor's English keeps hexameter narrative speakable for performance and class.
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Meaning
This hymn advances a god's honour under Zeus. Tokens (pomegranate, lyre, Delos, cattle, desire) outlive speeches.
Hymn 2 to Demeter
Hymn 2 Demeter: spine
Hymn 2 Demeter: chain
Hymn 2 Demeter: hub
Central claim
The Demeter hymn is a charter for Eleusis and a theology of grief, bargain, and seasonal share under Zeus. Performance and cult honour share one plot under Zeus.
Abduction: flower field. The hymn moves one notch of honour or cost.
Hymn 2 Demeter: beat 0
Search: torches. The hymn moves one notch of honour or cost.
Eleusis: sojourn. The hymn moves one notch of honour or cost.
Hymn 2 Demeter: beat 2
Demophoon: fire rite. The hymn moves one notch of honour or cost.
Famine: earth scorched. The hymn moves one notch of honour or cost.
Hymn 2 Demeter: beat 4
Bargain: Zeus Hermes. The hymn moves one notch of honour or cost.
Pomegranate: share. The hymn moves one notch of honour or cost.
Hymn 2 Demeter: beat 6
Mysteries: gift. The hymn moves one notch of honour or cost.
Second pass
- HYMN TO DEMETER I sing of the revered goddess, rich-haired Demeter, and her slim-ankled daughter, whom Hades snatched
(far-seeing, thundering Zeus gave her away) while she and Ocean’s deep-breasted daughters played,
far from golden blade Demeter, who bears shining fruit. She picked lush meadow flowers: roses, crocuses, lovely violets, irises, hyacinths-and a narcissus
Hymn 2 Demeter: band 1
Gaia grew as a lure for the blossoming girl, following Zeus’ bidding, to please Lord of the Dead. Everyone marveled at the bewitching sight,
immortal gods and mortal folk alike: from its root blossomed a hundred sweetly scented heads, and all wide heaven above,
all earth, and the salty swell of the sea laughed. Amazed, she stretched out both hands to pick the charming bloom-and a chasm opened
in the Nysian plain. Out sprang Lord of the Dead, god of many names, on his immortal horses. Snatching the unwilling girl, he carried her off
in his golden chariot, as she cried and screamed aloud calling to her father, son of Kronos, highest and best. None of the immortal gods or mortal folk
heard her cry, nor the Olives shining with fruit- except the daughter of Perses, tender-hearted Hekate, veiled in light, heard from her cave
Hymn 2 Demeter: band 3
and Lord Helios, Hyperion’s shining son, heard the girl calling to her father, son of Kronos. Zeus sat far away from the gods, in his temple echoing
with prayers, accepting rich offerings from mortals. But her father’s brother, Kronos’ son of many names, Lord of the Many Dead, stole the unwilling girl
away on his immortal horses, with a nod from Zeus. While the goddess could still gaze at earth and starry heaven, strong rush of the fish-abundant sea
and sun’s rays, she still hoped to see her dear mother and the race of gods who live forever:
hope yet charmed her strong mind though she grieved. The mountain peaks and the sea depths echoed
with her eternal cry, and her goddess mother heard her. Sharp grief seized her heart; with both hands she tore the veil from her ambrosial hair,
Hymn 2 Demeter: band 5
threw a black cloak across her shoulders and sped like a bird over the nourishing land and sea, searching: but none of the immortal gods
or mortal folk would tell her the truth, nor did omen birds bring true messages. Nine days Queen Deo wandered the earth, blazing torches in her hands,
nor did she eat ambrosia or sip sweet nectar once while grieving, or wash her skin clean. When shining Dawn arose on the tenth day,
Hekate met her with torches in her own hands and drew close, speaking these words: “Queen Demeter, who brings seasons, bears shining fruit,
which one of the heavenly gods or mortal folk seized Persephone and grieved your spirit? I heard her cry, but with my own eyes did not see
who did it. I am telling you the whole truth.” Hekate asked, but the daughter of rich-haired Rhea did not wait to reply. Quickly she rushed away,
Hymn 2 Demeter: band 7
blazing torches in her hands, Hekate at her side. They came to Helios, who watches gods and mortals, and stood before his horses. The heavenly goddess said:
“Helios, respect me as a goddess, if ever before with words or deeds I cheered your heart and soul. The girl I bore, a sweet blossom, a joy to see,
I heard her screams through the barren air as if she was taken by force, but I did not see her. Yet you gaze through the bright air with your rays
over the whole wide earth and sea: Tell me truly of my dear child, if you saw who stole her away from me, against her will, and is gone, what god or mortal man?”
She asked and Hyperion’s son answered back: “Queen Demeter, daughter of rich-haired Rhea, you will know: I do greatly respect you and pity
your grief over your slim-ankled child. No other god arranged it but cloud-gathering Zeus, who gave her to his own brother Hades to be called
Hymn 2 Demeter: band 9
his budding wife. He carried her off on his horses into the misty darkness while she screamed aloud. But, Goddess, give up your strong grief; let go
of your infinite anger. Hades is not an unsuitable son-in-law among the gods: Lord of the Many Dead, your own brother from the same seed. As for honor,
he won the third share when the division was made and lives as king among those in his allotted land.”
After speaking, Helios called to his horses, who at his shout bore the swift chariot quickly like long-winged birds.
But a grief more dread and more bitter came over her. Then, furious at Zeus who darkens clouds, she withdrew from the assembly of gods and high Olympos
and wandered the cities and rich fields of humans, disguising her form for a long time. Nor did any man or woman recognize her when they looked,
Hymn 2 Demeter: band 11
until she came to the house of thoughtful Keleos, who then was ruler of incense-offering Eleusis. She sat near the road, her heart sorrowing,
by Maiden Well where townswomen drew water, an olive tree spreading shade above her; 100 she looked like an old woman born long ago,
without a child or gifts of garland-loving Aphrodite, like a nurse for the children of a righteous king
or a housekeeper in a king’s echoing palace. The daughters of Keleos, son of Eleusinos, saw her as they came to draw the well water and bring it
in bronze pitchers to their father’s house. Like four goddesses, they bloomed with youth: Kallidike, Kleisidike, lovely Demo,
and Kallithoe, eldest of them all. 110 They did not know her, for mortals have trouble seeing gods. Flocking near her, their words flew out swiftly:
Hymn 2 Demeter: band 13
“Who are you and from where, old woman of elder folk? Why do you stay far from the city and not draw near the homes? There are women in the shady halls
the same age as you and those younger who would treat you well both in word and deed.” They asked her, and the queenly goddess answered:
“Dear children, whoever you are of womankind, greetings. Since you ask, I will tell you my tale; 120 it is right to tell you the truth:
Doso is my name, given by my lady mother. I came from Crete upon the sea’s wide back, not wanting to, but forced against my will,
stolen away by pirates. When they landed their swift ship at Thorikos, the women set foot on land all together, and the pirates
prepared dinner beside the ship’s stern cables. But my spirit longed for no pleasant meal. Secretly hurrying through the darkened land 130
Hymn 2 Demeter: band 15
I fled my arrogant leaders, so they could not sell me, an unbought slave, and enjoy my purchase price. After wandering so, I came here, not knowing at all
what land this is or who lives here. Yet may all those in Olympian homes grant you true husbands and childbearing as your parents wish: now pity me, girls,
[missing line] dear children, tell me what man and wife’s house I might go to, and so work for them gladly at whatever tasks an old woman can do: 140
I could nurse a newborn babe in my arms quite well, guard the house and make up the master’s bed within his well-built room,
and guide the women in all their work.” So the goddess said. Quickly the unwed girl, Kallidike, Keleos’ most beautiful daughter, replied:
“Good mother, the gods’ gifts and griefs by necessity we humans must endure-gods are much more powerful. I will tell you everything clearly and name
Hymn 2 Demeter: band 17
the men who have great strength of honor here; 150 they are preeminent among the people and protect
the city walls with counsels and straight judgments. They are wise Triptolemos, Diokles, Polyxeinos, excellent Eumolpos, Dolikhos, and our own heroic father-
wives of them all manage the houses. Not a one of them would scorn your bearing at first glance, or keep you from their house,
no: they will welcome you-you are godlike. Please wait while we go to our father’s house 160 so we may ask our mother Metaneira
all of this straight through: she might urge you to come to our house and not seek another. Her only son is nursed within the well-built halls,
a son born late, prayed for, much cherished. If you would rear him until he reaches a measure of youth, any woman seeing you would envy you,
Hymn 2 Demeter: band 19
so high a reward would our mother give.” She urged and the goddess nodded her head.
Then they proudly carried the bright jars filled with water. 170 Flying to their father’s great house, they quickly told
their mother just what they saw and heard. Right away, she bid them offer the woman a boundless wage. Like deer or young heifers in spring’s season
leaping through the meadow, sated with grazing, holding up the folds of their flowing robes, they darted down the hollow wagon trail, their hair
shimmering over their shoulders like crocus in bloom. They came to the glorious goddess waiting
near the road and led her to their father’s house. 180 Demeter followed after, her heart sorrowing, her head veiled. A dark-blue robe
Hymn 2 Demeter: band 21
trembled around the goddess’s slender feet. Quickly they came to the house of highborn Keleos. They walked across the porch to where their mother
sat by a column that supported the strong roof, holding her child, her new sprout, to her breast. They ran
to her, but the goddess set foot on the threshold, her head touching the rafter, the doorway filled with divine light.
Awe, reverence, and damp fear seized Metaneira. 190 Rising, she offered the goddess her royal seat. But Demeter, who brings seasons, bears shining fruit,
did not wish to sit upon the radiant throne- she waited silently, her lovely eyes cast down, until careful, wise Iambe set up a stool
and cast over it a silvery fleece. Then the goddess sat, holding her veil before her. For a long time, grieving silently, she sat on the stool,
Hymn 2 Demeter: band 23
greeting no one with word or gesture, not laughing, not tasting food or drink. 200 She sat, wasting with longing for her daughter,
until wise, careful Iambe jested with her. With a slew of jokes, Iambe made the divine lady smile, laugh, and keep a gracious mood-
Iambe who in later times also pleased her spirit. Metaneira gave her a cup of honey-sweet wine, but she shook her head, saying it was not right
for her to drink red wine; Demeter bid her offer a drink of barley and water mixed with tender mint. She gave the kukeōn drink to the goddess as ordered: 210
Queen Deo received it for the sake of her rite. Metaneira, richly girded, spoke first: “Greetings, Lady-since I expect you are not lowborn,
but noble. Your eyes reflect the dignity and the grace of kings who rule with justice. But the gods’ gifts and griefs we humans by necessity
Hymn 2 Demeter: band 25
must endure, for the yoke lies on our neck. Since you have come here, what is mine will be at hand. Nurse this child for me, whom the gods bestowed
late born and unexpected; he is my dearest desire. 220 If you would rear him until he reaches a measure of youth, any woman seeing you would envy you,
so high a reward would I give you.” Demeter, richly crowned, replied to her: “Greetings to you too, lady, and may the gods bless you.
Your son I will gladly embrace as you urge me; I will rear him, and not, I expect, as a negligent nurse,
nor will spells attack him or herb potions. For I know a stronger charm than the herb cutter; I know a good safeguard from painful spells.” 230
Speaking briefly, she gathered him to her fragrant breast with her immortal hands. And the mother rejoiced. Then the shining son of thoughtful Keleos,
Hymn 2 Demeter: band 27
Demophon, whom richly girded Metaneira bore, she nursed in the great halls. He grew like a god,
not eating grain, nor sucking [mother’s milk]. [By day, Demeter] anointed him with ambrosia as if god-born,
breathing sweetly on him, holding him to her breast. By night she buried him in the fire’s might like a brand, in secret from his own parents. They were amazed
240 how fast he sprouted up; he was like the gods. She would have made him unaging and immortal had not his mother, richly girded Metaneira, foolishly
kept watch all night from her fragrant room, spying. She shrieked and struck her thighs,
fearing for her son, pain searing her mind. And in her grief words flew out swiftly: “My baby Demophon, the stranger buries you deep
Hymn 2 Demeter: band 29
in the fire, leaving me with grief and bitterness.” She called out weeping and the heavenly goddess heard. 250 Furious at her, Demeter, crowned with grace,
with immortal hands snatched from the fire the dear child, born to the royal house unexpected, and set him down on the floor. Her mind raging terribly,
she chided richly girded Metaneira: “Ignorant mortals, you have no sense to foresee
destiny approaching whether good or bad. You in your foolishness have been incurably harmed. Let the gods’ oath, the Styx’s cruel water, witness:
I would have made your dear child immortal 260 and unaging forever and granted him undying honor.
Now he cannot escape death or the death spirits. But undying honor will always be his
Hymn 2 Demeter: band 31
because he lay on my knees and slept in my arms. In time, as the anniversary of this day returns, the sons of Eleusis will wage war and dread battle
against one another each year on that day. I am honored Demeter, the greatest source
of aid and joy for mortals and immortals. Come, have all the people build me 270 a great temple with an altar below the city’s
steep walls, on the rising hill above Kallikhoron. I myself will lay out the rites so that hereafter you may appease my spirit by acting lawfully.”
As she spoke, the goddess’s form and stature changed, sloughing off old age, and all around breathed beauty: a bewitching scent emanated from her fragrant robes,
light from the goddess’s heavenly skin shone far, her golden hair flowed over her shoulders,
Hymn 2 Demeter: band 33
and lightning flashes filled the finely crafted house. 280 She left the great hall. Metaneira’s knees buckled. Silent a long time, she did not think at all
to pick up from the floor her only son. But his sisters heard his pitiful cries, and dashed from their richly spread beds. One lifted
the child in her arms, cradling him to her breast, another lit the fire, while another rushed on soft feet
to rouse her mother from the fragrant room. Gathering him up, they bathed the struggling child and held him lovingly, but his spirit was not soothed: 290
far worse nurses and caretakers held him. All night long, quaking with fear, they prayed that the great goddess be gracious. When dawn appeared
they told Keleos, whose rule stretched far, all that Demeter, crowned with grace, had commanded. He then summoned the people from all around,
Hymn 2 Demeter: band 35
ordering them to make rich-haired Demeter a splendid temple and altar on the rising hill. They obeyed at once, heeded his words, and built
the temple, which grew as the deity had decreed. 300 When it was completed, they rested from toil and left to return home. But golden Demeter
sat there, far away from all the blessed ones, waiting, wasting away with longing for her daughter. She made that a most dreadful and bitter year
for people on the land that feeds them, and the earth sprouted no seed: Demeter, richly crowned, concealed it.
Oxen dragged the curved plows in vain through fields and the white barley fell fruitless to the earth. The cruel famine would have destroyed the whole race 310
of speaking folk, and deprived those in Olympos of the splendid honor of gifts and sacrifices,
Hymn 2 Demeter: band 37
had Zeus not noticed, and devised a plan. First he roused golden-winged Iris to summon
rich-haired Demeter-her form now in full beauty. Zeus spoke and Iris obeyed the storm-cloud son
of Kronos, darting down with flying feet. She came to the city of incense-offering Eleusis
and found Demeter darkly robed in the temple. Iris urged her with swift words: 320 “Demeter, Father Zeus-who knows all-summons you
to join the race of gods who live forever. Come, do not let my words from Zeus be barren.”
Iris pleaded, but Demeter’s spirit was not persuaded. Then the father sent out one after another all the blessed immortal gods. In succession
Hymn 2 Demeter: band 39
they called for her, offering many beautiful gifts, and whatever honors she might choose among the gods. But no one could persuade her heart or mind;
raging in spirit, she firmly spurned their words. 330 She said that never on fragrant Olympos would she set foot, nor send up the earth’s fruit,
until she saw with her own eyes her bright-eyed daughter. After far-seeing, thundering Zeus heard that, he sent Hermes with his golden wand to Erebos
to cajole Hades with gentle words that he might lead holy Persephone out of the misty darkness to the light among gods, so her mother
could see with her own eyes and give up her anger. Hermes obeyed; at once into the earth’s hidden places 340
he plunged down quickly, leaving Olympos. He came upon Lord Hades in his house sitting in bed with his revered wife,
Hymn 2 Demeter: band 41
still unwilling and longing for her mother. But Demeter had devised a plan against the blessed gods’ deeds. Standing near, the mighty Slayer of Argos said:
“Black-haired Hades, Lord of the Dead, Zeus the father ordered me to lead noble Persephone out of Erebos to be among us, so that her mother
might see her and give up her anger and dread 350 wrath against the gods. Demeter devised a plan to destroy the fleeting race of earth-born humans,
burying all seed in the earth, destroying the gods’ honors. She rages terribly, and does not mingle with the gods: she sits far away in her fragrant temple,
keeping to the rugged city of Eleusis.” So he explained. Hades, Lord of the Dead, smiled
with his brows, and obeyed the command of King Zeus. Quickly he called for thoughtful Persephone: “Persephone, go to your darkly robed mother, 360
Hymn 2 Demeter: band 43
keeping your temper and spirit gentle. Do not be so much unhappier than others. I will not be an unsuitable husband for you
among the gods, Father Zeus’ own brother. Here you will rule over all who live and move, you will have the greatest honors among immortals,
and you will punish forever those who do wrong, who do not appease your temper with sacrifices, enacting proper rites and offering gifts.”
Further source depth
the same age as you and those younger who would treat you well both in word and deed.” They asked her, and the queenly goddess answered:
Hymn 2 Demeter further 40
“Dear children, whoever you are of womankind, greetings. Since you ask, I will tell you my tale; 120 it is right to tell you the truth:
Doso is my name, given by my lady mother. I came from Crete upon the sea’s wide back, not wanting to, but forced against my will,
stolen away by pirates. When they landed their swift ship at Thorikos, the women set foot on land all together, and the pirates
prepared dinner beside the ship’s stern cables. But my spirit longed for no pleasant meal. Secretly hurrying through the darkened land 130
I fled my arrogant leaders, so they could not sell me, an unbought slave, and enjoy my purchase price. After wandering so, I came here, not knowing at all
Hymn 2 Demeter further 45
what land this is or who lives here. Yet may all those in Olympian homes grant you true husbands and childbearing as your parents wish: now pity me, girls,
[missing line] dear children, tell me what man and wife’s house I might go to, and so work for them gladly at whatever tasks an old woman can do: 140
I could nurse a newborn babe in my arms quite well, guard the house and make up the master’s bed within his well-built room,
and guide the women in all their work.” So the goddess said. Quickly the unwed girl, Kallidike, Keleos’ most beautiful daughter, replied:
“Good mother, the gods’ gifts and griefs by necessity we humans must endure-gods are much more powerful. I will tell you everything clearly and name
Hymn 2 Demeter further 50
the men who have great strength of honor here; 150 they are preeminent among the people and protect
the city walls with counsels and straight judgments. They are wise Triptolemos, Diokles, Polyxeinos, excellent Eumolpos, Dolikhos, and our own heroic father-
wives of them all manage the houses. Not a one of them would scorn your bearing at first glance, or keep you from their house,
no: they will welcome you-you are godlike. Please wait while we go to our father’s house 160 so we may ask our mother Metaneira
all of this straight through: she might urge you to come to our house and not seek another. Her only son is nursed within the well-built halls,
Hymn 2 Demeter further 55
a son born late, prayed for, much cherished. If you would rear him until he reaches a measure of youth, any woman seeing you would envy you,
so high a reward would our mother give.” She urged and the goddess nodded her head.
Then they proudly carried the bright jars filled with water. 170 Flying to their father’s great house, they quickly told
their mother just what they saw and heard. Right away, she bid them offer the woman a boundless wage. Like deer or young heifers in spring’s season
leaping through the meadow, sated with grazing, holding up the folds of their flowing robes, they darted down the hollow wagon trail, their hair
Hymn 2 Demeter further 60
shimmering over their shoulders like crocus in bloom. They came to the glorious goddess waiting
near the road and led her to their father’s house. 180 Demeter followed after, her heart sorrowing, her head veiled. A dark-blue robe
trembled around the goddess’s slender feet. Quickly they came to the house of highborn Keleos. They walked across the porch to where their mother
sat by a column that supported the strong roof, holding her child, her new sprout, to her breast. They ran
to her, but the goddess set foot on the threshold, her head touching the rafter, the doorway filled with divine light.
Hymn 2 Demeter further 65
Awe, reverence, and damp fear seized Metaneira. 190 Rising, she offered the goddess her royal seat. But Demeter, who brings seasons, bears shining fruit,
did not wish to sit upon the radiant throne- she waited silently, her lovely eyes cast down, until careful, wise Iambe set up a stool
and cast over it a silvery fleece. Then the goddess sat, holding her veil before her. For a long time, grieving silently, she sat on the stool,
greeting no one with word or gesture, not laughing, not tasting food or drink. 200 She sat, wasting with longing for her daughter,
until wise, careful Iambe jested with her. With a slew of jokes, Iambe made the divine lady smile, laugh, and keep a gracious mood-
Hymn 2 Demeter further 70
Iambe who in later times also pleased her spirit. Metaneira gave her a cup of honey-sweet wine, but she shook her head, saying it was not right
for her to drink red wine; Demeter bid her offer a drink of barley and water mixed with tender mint. She gave the kukeōn drink to the goddess as ordered: 210
Queen Deo received it for the sake of her rite. Metaneira, richly girded, spoke first: “Greetings, Lady-since I expect you are not lowborn,
but noble. Your eyes reflect the dignity and the grace of kings who rule with justice. But the gods’ gifts and griefs we humans by necessity
must endure, for the yoke lies on our neck. Since you have come here, what is mine will be at hand. Nurse this child for me, whom the gods bestowed
Hymn 2 Demeter further 75
late born and unexpected; he is my dearest desire. 220 If you would rear him until he reaches a measure of youth, any woman seeing you would envy you,
so high a reward would I give you.” Demeter, richly crowned, replied to her: “Greetings to you too, lady, and may the gods bless you.
Your son I will gladly embrace as you urge me; I will rear him, and not, I expect, as a negligent nurse,
nor will spells attack him or herb potions. For I know a stronger charm than the herb cutter; I know a good safeguard from painful spells.” 230
Speaking briefly, she gathered him to her fragrant breast with her immortal hands. And the mother rejoiced. Then the shining son of thoughtful Keleos,
Hymn 2 Demeter further 80
Demophon, whom richly girded Metaneira bore, she nursed in the great halls. He grew like a god,
not eating grain, nor sucking [mother’s milk]. [By day, Demeter] anointed him with ambrosia as if god-born,
breathing sweetly on him, holding him to her breast. By night she buried him in the fire’s might like a brand, in secret from his own parents. They were amazed
240 how fast he sprouted up; he was like the gods. She would have made him unaging and immortal had not his mother, richly girded Metaneira, foolishly
kept watch all night from her fragrant room, spying. She shrieked and struck her thighs,
Hymn 2 Demeter further 85
fearing for her son, pain searing her mind. And in her grief words flew out swiftly: “My baby Demophon, the stranger buries you deep
in the fire, leaving me with grief and bitterness.” She called out weeping and the heavenly goddess heard. 250 Furious at her, Demeter, crowned with grace,
with immortal hands snatched from the fire the dear child, born to the royal house unexpected, and set him down on the floor. Her mind raging terribly,
she chided richly girded Metaneira: “Ignorant mortals, you have no sense to foresee
destiny approaching whether good or bad. You in your foolishness have been incurably harmed. Let the gods’ oath, the Styx’s cruel water, witness:
Hymn 2 Demeter further 90
I would have made your dear child immortal 260 and unaging forever and granted him undying honor.
Now he cannot escape death or the death spirits. But undying honor will always be his
because he lay on my knees and slept in my arms. In time, as the anniversary of this day returns, the sons of Eleusis will wage war and dread battle
against one another each year on that day. I am honored Demeter, the greatest source
of aid and joy for mortals and immortals. Come, have all the people build me 270 a great temple with an altar below the city’s
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steep walls, on the rising hill above Kallikhoron. I myself will lay out the rites so that hereafter you may appease my spirit by acting lawfully.”
As she spoke, the goddess’s form and stature changed, sloughing off old age, and all around breathed beauty: a bewitching scent emanated from her fragrant robes,
light from the goddess’s heavenly skin shone far, her golden hair flowed over her shoulders,
and lightning flashes filled the finely crafted house. 280 She left the great hall. Metaneira’s knees buckled. Silent a long time, she did not think at all
to pick up from the floor her only son. But his sisters heard his pitiful cries, and dashed from their richly spread beds. One lifted
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the child in her arms, cradling him to her breast, another lit the fire, while another rushed on soft feet
to rouse her mother from the fragrant room. Gathering him up, they bathed the struggling child and held him lovingly, but his spirit was not soothed: 290
far worse nurses and caretakers held him. All night long, quaking with fear, they prayed that the great goddess be gracious. When dawn appeared
they told Keleos, whose rule stretched far, all that Demeter, crowned with grace, had commanded. He then summoned the people from all around,
ordering them to make rich-haired Demeter a splendid temple and altar on the rising hill. They obeyed at once, heeded his words, and built
Hymn 2 Demeter further 105
the temple, which grew as the deity had decreed. 300 When it was completed, they rested from toil and left to return home. But golden Demeter
sat there, far away from all the blessed ones, waiting, wasting away with longing for her daughter. She made that a most dreadful and bitter year
for people on the land that feeds them, and the earth sprouted no seed: Demeter, richly crowned, concealed it.
Oxen dragged the curved plows in vain through fields and the white barley fell fruitless to the earth. The cruel famine would have destroyed the whole race 310
of speaking folk, and deprived those in Olympos of the splendid honor of gifts and sacrifices,
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had Zeus not noticed, and devised a plan. First he roused golden-winged Iris to summon
rich-haired Demeter-her form now in full beauty. Zeus spoke and Iris obeyed the storm-cloud son
of Kronos, darting down with flying feet. She came to the city of incense-offering Eleusis
and found Demeter darkly robed in the temple. Iris urged her with swift words: 320 “Demeter, Father Zeus-who knows all-summons you
to join the race of gods who live forever. Come, do not let my words from Zeus be barren.”
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Iris pleaded, but Demeter’s spirit was not persuaded. Then the father sent out one after another all the blessed immortal gods. In succession
they called for her, offering many beautiful gifts, and whatever honors she might choose among the gods. But no one could persuade her heart or mind;
raging in spirit, she firmly spurned their words. 330 She said that never on fragrant Olympos would she set foot, nor send up the earth’s fruit,
until she saw with her own eyes her bright-eyed daughter. After far-seeing, thundering Zeus heard that, he sent Hermes with his golden wand to Erebos
to cajole Hades with gentle words that he might lead holy Persephone out of the misty darkness to the light among gods, so her mother
Hymn 2 Demeter further 120
could see with her own eyes and give up her anger. Hermes obeyed; at once into the earth’s hidden places 340
he plunged down quickly, leaving Olympos. He came upon Lord Hades in his house sitting in bed with his revered wife,
still unwilling and longing for her mother. But Demeter had devised a plan against the blessed gods’ deeds. Standing near, the mighty Slayer of Argos said:
“Black-haired Hades, Lord of the Dead, Zeus the father ordered me to lead noble Persephone out of Erebos to be among us, so that her mother
might see her and give up her anger and dread 350 wrath against the gods. Demeter devised a plan to destroy the fleeting race of earth-born humans,
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burying all seed in the earth, destroying the gods’ honors. She rages terribly, and does not mingle with the gods: she sits far away in her fragrant temple,
keeping to the rugged city of Eleusis.” So he explained. Hades, Lord of the Dead, smiled
with his brows, and obeyed the command of King Zeus. Quickly he called for thoughtful Persephone: “Persephone, go to your darkly robed mother, 360
keeping your temper and spirit gentle. Do not be so much unhappier than others. I will not be an unsuitable husband for you
among the gods, Father Zeus’ own brother. Here you will rule over all who live and move, you will have the greatest honors among immortals,
Hymn 2 Demeter further 130
and you will punish forever those who do wrong, who do not appease your temper with sacrifices, enacting proper rites and offering gifts.”
So he said. Thoughtful Persephone rejoiced 370 and quickly leapt up in joy. But he gave her a honey-sweet pomegranate seed to eat,
secretly slipping it to her, so she would not remain with holy, dark-robed Demeter forever. Hades, Lord of the Many Dead, harnessed
his immortal horses to the golden chariot. She climbed into the chariot with strong Hermes, who took the reins and the whip in his hands,
and raced off through the great hall. Eagerly they flew and quickly they completed the long journey. 380 No sea or river, no grassy glens
Hymn 2 Demeter further 135
or mountain peaks held them back: high above, the immortal horses sliced through the wide air. Hermes drove them to Demeter, richly crowned,
who waited by her fragrant temple. Demeter saw her and dashed like a maenad down a wooded mountain. When Persephone [saw] her mother’s [lovely eyes,]
she leapt down [from the chariot] and ran, [flinging her arms around her mother’s neck.] [Still holding her dear daughter, Demeter at once] 390
[suspected some trick; her heart feared terribly.] Ending [her embrace, she quickly questioned:] “My child, you didn’t [eat] any food [while you were down]
[below]? Speak out, [don’t hide, so that we may both know.] If you did not, having come from [hateful Hades,] you may live with me and your father,
Hymn 2 Demeter further 140
[Kronos’ storm-cloud son,] honored by all [the gods.] But if you did, flying back [into earth’s hidden places,] you will live there a third part [of each year,]
but two seasons with me and the [other gods.] 400 When earth sprouts with every kind of fragrant flower in spring, out of the misty darkness
you will rise again, a great marvel for gods and mortal folk. What lure did the mighty Lord of the Dead use to trick you?”
Beautiful Persephone answered her in turn: “Indeed I will tell you, Mother, the whole truth. When Hermes, the swift runner, came to me
from my father, son of Kronos, and the other gods to bring me from Erebos, so you could see me and give up anger and dread wrath against the gods, 410
Hymn 2 Demeter further 145
I leapt with joy, but secretly Kronos’ other son put into me a pomegranate seed, honey-sweet food,
compelling me by force to eat, most unwillingly. I will tell you how cunning Hades stole me away, bringing me from my father to the hidden places
deep in the earth, and recount everything you ask. All of us were playing in a charming meadow: Leukippa, Phaino, Elektra, Iantha,
Melita, Iakha, Rhodeia, Kallirhoa, Melobosis, Tukhe, blossoming Okuroa, 420 Khryseis, Ianeira, Akasta, Admeta, Rhodopa, Plouto, charming Kalypso,
Styx, Ourania, lovely Galaxaura, battle-rousing Athena and arrow-flinging Artemis. We played and picked beautiful flowers:
Hymn 2 Demeter further 150
delicate crocus mixed with iris and hyacinth, rosebuds and lilies, marvelous to see,
and the narcissus, which the wide earth grew like a crocus. When I picked it in delight, the earth gave way from beneath,
and the mighty Lord of the Many Dead sprang out. 430 Hades dragged me most unwilling under the earth
in his golden chariot; I shouted and screamed aloud. In all this, though I grieve, I tell the whole truth.” Then all day long the two goddesses were of one mind,
greatly cheering each other’s heart and soul; as they embraced, their hearts abandoned grief.
Hymn 2 Demeter further 155
They received and gave joys one to the other. Hekate, veiled in light, came near them
and warmly embraced holy Demeter’s daughter. From then on Hekate was her attendant and companion. 440 Far-seeing, thundering Zeus sent down rich-haired Rhea,
the mother of darkly robed Demeter, to bring her daughter among the race of gods, for the honors-
whatever she might choose-that Zeus had promised. He nodded to Rhea that the girl stay in misty darkness for one-third share of the revolving year,
Characters and arcs
Demeter matters as grieving mother. Track speech, gift, shame, and seat.
Persephone matters as taken bride. Track speech, gift, shame, and seat.
Hades matters as taker. Track speech, gift, shame, and seat.
Zeus matters as arranger. Track speech, gift, shame, and seat.
Helios matters as witness. Track speech, gift, shame, and seat.
Hekate matters as helper. Track speech, gift, shame, and seat.
Metaneira matters as Eleusis queen. Track speech, gift, shame, and seat.
Demophoon matters as almost immortal. Track speech, gift, shame, and seat.
Themes, motifs, style
Theme: abduction. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Eleusis. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Mysteries. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: marriage-death. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: seasonal bargain. Rayor's English keeps hexameter narrative speakable for performance and class.
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Meaning
This hymn advances a god's honour under Zeus. Tokens (pomegranate, lyre, Delos, cattle, desire) outlive speeches.
Hymn 3 to Apollo
Hymn 3 Apollo: spine
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Central claim
Apollo's hymn is a double foundation myth: birth honour on Delos and oracular power at Delphi under Zeus. Performance and cult honour share one plot under Zeus.
Leto labour: islands refuse. The hymn moves one notch of honour or cost.
Hymn 3 Apollo: beat 0
Delos accepts: birth. The hymn moves one notch of honour or cost.
Young Apollo: claims honour. The hymn moves one notch of honour or cost.
Hymn 3 Apollo: beat 2
Telphusa deceit: detour. The hymn moves one notch of honour or cost.
Python slain: Delphi. The hymn moves one notch of honour or cost.
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Cretan ship: priests. The hymn moves one notch of honour or cost.
khaire: close. The hymn moves one notch of honour or cost.
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Second pass
- HYMN TO APOLLO I will remember and not forget far-shooting Apollo. Gods tremble as he approaches the home of Zeus: All rise from their seats as he draws near
when he stretches his gleaming bow. Only Leto stays beside Zeus who delights in thunder. She unstrings Apollo’s bow, closes his quiver,
lifts the bow from his mighty shoulders, hangs it from a golden peg on a pillar near his father,
Hymn 3 Apollo: band 1
leads him to his throne and bids him sit. His father hands him nectar in a golden cup, welcoming his dear son-then the other gods
return to their seats. Queen Leto rejoices that she bore a strong son, an archer. Rejoice, blessed Leto, since you bore glorious children-
Lord Apollo and Artemis who rains arrows, Artemis in Ortygia and Apollo in rocky Delos- bracing yourself against the great hill Kynthos
near a date palm by the streams of Inopos. How to praise you, celebrated in so many hymns? Phoibos, the range of songs for you spreads over
all the islands and lands that feed calves. All high places please you, from the mountain headlands, to the rivers flowing seaward,
and the rugged banks sloping to the sea and harbor. Shall I sing of when Leto first leaned on Mount Kynthos in Delos, the rocky island encircled by sea,
Hymn 3 Apollo: band 3
and gave birth to you, a joy for mortals? With whistling winds, dark waves encroach the dry land on every side.
Starting from Delos, you rule over all mortals. Crete, which holds so many, then the land of Athens, the isle of Aigina and Euboea famous for ships,
Aigai, Eiresiai, and Peparethos near the sea, Thracian Mount Athos, the towering peaks of Pelion, then Samothrace and Ida’s mountain range,
Skyros, Phokaia, the sheer summit of Autokane, well-managed Imbros, inhospitable Lemnos, holy Lesbos, home to Makar, son of Aiolos,
and Chios, most fruitful of islands that lie in the sea, rugged Mimas, the high crown of Korykos, dazzling Klaros, steep Mount Aisagee,
watery Samos, lofty peak of Mykale, Miletos, and Kos, the city of Meropians, high Knidos and windy Karpathos, Naxos, Paros, and rocky Rheneia-
Hymn 3 Apollo: band 5
Leto searched, while in labor with the skillful Archer, all these lands to find one willing to house her son. But each place quaked with fear and not one dared
to accept Phoibos, for all their fertile soil, not until Queen Leto set foot on Delos. Leto’s words flew out swiftly:
“Delos, if only you wanted to be my son’s home and to establish Phoibos Apollo’s rich temple here! No one else will touch you-as you notice-
you will not be rich, I think, in cattle or sheep, and you will not bear fruit nor grow many plants. If you had the temple of Apollo, who works from afar,
then everyone gathering here would sacrifice hundreds of bulls-an endless scent of offerings smoking up- and you, whose land is not rich, would receive
from the hands of strangers food for all your people.” When Leto finished, Delos greeted her: “Most honorable Leto, daughter of great Koios,
Hymn 3 Apollo: band 7
I would gladly welcome the birth of the far-shooting Lord. It is terribly true that I now seem hateful to men,
while then I would become greatly honored. Though I tremble to speak, I will not hide it from you: Leto, they say Apollo will be extremely reckless
and rule mightily over the immortal gods and mortal men on the wheat-growing earth. In my mind and spirit I have a terror, a fear
that when he first sees the light of the sun, Apollo might dishonor this island-since I am too rocky-
trampling it, he will thrust me into the briny sea. Then crashing great waves will pile over my head and he will go to another land that might please you,
Leto, there to establish his temple and sacred grove. Octopi will make their bed on me and dark seals
Hymn 3 Apollo: band 9
will make their home, undisturbed by people. But, Goddess, if you dare swear a solemn oath that Apollo will build his first beautiful temple
here, as an oracle for people, then later he can [build] among all other folk, since surely he will be famous.”
After Delos spoke, Leto swore the gods’ greatest oath: “Know this, Earth, wide Heaven, by the cascading water of the Styx (the greatest and most terrible oath
that the blessed gods swear): Apollo will forever have his fragrant altar and precinct on this island. He will honor you far above all others.”
When Leto had finished swearing the oath, Delos welcomed the birth of the far-shooting Lord. For nine days and nine nights, Leto was pierced
by unexpected labor pains. All the goddesses, the best ones, were with her: Dione, Rhea, the tracker Themis, roaring Amphitrite,
Hymn 3 Apollo: band 11
and all the rest, except for white-armed Hera, who sat in the great hall of Zeus, the cloud-wrangler. Only Eileithyia, goddess of childbirth, had not heard:
she sat on Mount Olympos under golden clouds, through the cunning of white-armed Hera, who distracted her out of jealousy that fair-haired Leto 100
was about to bear a perfect, powerful son. So the goddesses sent Iris from the well-built temple to retrieve Eileithyia, swearing to give her
a necklace nine cubits long, strung with gold thread. They urged Iris to summon her away from Hera,
before Hera could dissuade Eileithyia from coming. Swift, wind-footed Iris ran when she heard this,
quickly traversing the whole distance between. As she reached the seat of the gods, steep Olympos, Iris quickly called for Eileithyia to come to the door 110
Hymn 3 Apollo: band 13
from the great hall, her words flying out as all the other Olympian goddesses had urged. Iris did persuade Eileithyia’s own heart,
and so the two goddesses flew like sky doves. When the labor goddess landed on Delos,
labor seized Leto; she strove to give birth. She threw her arms around a date palm tree,
knees sinking in the soft meadow, and Earth smiled. The baby leapt toward the light and all the goddesses cried aloud. Lord Phoibos, the goddesses bathed you 120
in holy, pure water; they swaddled you in a delicate, new white cloth, fastened with a golden band. His mother did not nurse Apollo of the golden blade;
Themis, instead, offered nectar and sweet ambrosia in her immortal hands. Then Leto rejoiced
Hymn 3 Apollo: band 15
that she bore a strong son, an archer. But when you, Phoibos, devoured the immortal food, the golden cords could not hold as you struggled,
the ties no longer hindered you, all the ropes fell free. At once Phoibos Apollo addressed the immortals: 130
“The lyre and the curved bow shall ever be dear to me, and I will proclaim to humans the unerring will of Zeus.”
With that, unshorn Phoibos, who strikes from afar, strode on the earth’s broad paths and all the immortal goddesses were astounded. Then Delos everywhere
grew heavy with gold, beholding Zeus and Leto’s child, joyous that the god chose her as his home,
that out of all islands and lands, he loved her more. Like a hilltop with forest flowers, Delos blossomed with gold.
Hymn 3 Apollo: band 17
Silverbow Apollo, Lord who strikes from afar, 140 you walked all over rocky Mount Kynthos,
then you roamed the other islands, among all men. Your temples and sacred groves are many. All high places, the mountain headlands,
and rivers flowing seaward please you. Yet your heart, Phoibos, most delights in Delos where the Ionians, in trailing robes, gather
with their children and respected wives. They please you when they hold their contests,
remembering you with boxing matches, dance, and song. 150 One would say they are immortal, forever unaging,
if one came upon them, thronged together. Seeing the grace of them all, one would delight at the sight of men and well-dressed women,
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swift ships and the Ionians’ many possessions. And the greatest marvel, whose fame will never die:
the Delian girls, servants of the god of a hundred arrows. They begin a hymn celebrating Apollo in song, Leto next and Artemis, who rains arrows,
and then, remembering the men and women of old, 160 they sing an epic tale-they enchant the people. They know how to mimic the sounds of all folk
and the rattling of castanets; each person would hear his own voice singing, so well do they craft the song. Now may Apollo, along with Artemis, be gracious,
and all you girls fare well. Remember me ever after, whenever some man of the earth, a stranger who has suffered much, comes here and asks:
“Girls, which man’s song is sweetest to you of those landing here, and who delights you most?” 170 Then you all answer so well about us:
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“The blind man, who lives in rugged Chios, whose songs all remain the best forever.” We will carry your fame so far over the earth
as we travel about the crowded cities of people. They will be persuaded, since it is the truth. Yet, I will not stop celebrating the skillful Archer,
Silverbow Apollo, son of fair-haired Leto. Lord, Lykia and lovely Maionia are yours,
and Miletos, charming city by the sea. 180 And you most powerfully rule the island Delos. Strumming the hollow lyre, Leto’s glorious son
roams toward rocky Pytho, wearing clothes fragrant and divine. The lyre has a haunting, sweet sound
under the golden pick when he plays. Swift as thought, he leaves earth for Zeus’ Olympian house among the assembly of gods;
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at once the gods heed the lyre and song. The Muses respond as one, their rich voices singing the gods’ undying gifts and the sufferings 190
that the deathless gods inflict on human folk who live witless and helpless, unable to find
a cure for death or defense against old age. Then the rich-haired Graces, gracious Horai, Harmonia, Hebe, and Zeus’ daughter, Aphrodite,
all dance together joining hands at their wrists. Among them sings a goddess neither ugly nor short, but statuesque, a stunning beauty to behold:
Artemis, who rains arrows, the sister of Apollo. Among them, too, play Ares and sharp-eyed Hermes. 200 As Phoibos Apollo plays the lyre, stepping high
and fine, radiance blazes around him, the dancers’ feet flashing from under fine-spun robes. Golden-haired Leto and wise Zeus
Hymn 3 Apollo: band 25
greatly rejoice in their hearts to watch their dear son playing among the immortal gods.
How to praise you, celebrated in so many hymns? Shall I sing about you as wooer and lover: How you and godlike Iskhus, son of Elatos the horseman,
rivaled in wooing Koronis, daughter of Azan? 210 Or you with rivals Phorbas, son of Triops, or Ereutheus? Or with Leukippos and Leukippos’ lady, Daphne,
one on foot, the other riding? He did not fall short of Triops. Shall I sing of how you, Apollo who strikes from afar,
searched the earth for a place of prophecy for mortals? First you traveled from Olympos to Pieria, past sandy Lekton and the Ainianes,
past the land of the Perraiboi. You came swiftly to Iolkos, and Kenaion in Euboea, famous for ships. As you stood on the Lelanton plain, the place 220
Hymn 3 Apollo: band 27
did not please you for your temple and grove. Crossing the Euripos, Apollo who strikes from afar, you climbed the divine, green mountain. Quickly,
you left there for Mykalessos and grassy Teumessos. Then you came to Thebes, a place covered in forest- for no mortals yet made their home in holy Thebes,
there were no paths or roads yet in the wheat plain, and Thebes was still held by woods. Going further, Apollo who strikes from afar,
you reached Onchestos, Poseidon’s luminous grove. 230 There, in a ritual to Poseidon, a newly tamed colt
breathes heavily, distressed from pulling a fine chariot, then his good driver leaps from the car to the path.
Free of control, the horses rattle their empty vessels. If the chariots are shattered in the grove,
Hymn 3 Apollo: band 29
people tend the horses, but leave the chariots lying. Thus the ritual was born: they pray to Poseidon,
and Moira will guard the god’s chariot. You reached that grove later, Apollo who strikes from afar. Then you encountered the fine-flowing Kephisos, 240
which rushes out, its waters pouring from Lilaia. Walking through it and Okaleia of many towers, you,
who work from afar, happened upon grassy Haliartos. Finally, you reached Telphusa, a pristine place
to establish your temple and grove. Standing very close, you told her: “Telphusa, I intend to build a most beautiful temple
right here as a place of prophecy for mortals, who will always offer me perfect bulls by the hundred. People living in the rocky Peloponnesus, in Europe, 250
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and in islands encircled by sea will make offerings when seeking an oracle. To all of them, I will prophesy
unerring counsel, declaring oracles in my rich temple.” After speaking, Phoibos Apollo set the foundations wide and extremely long. When Telphusa saw that,
her heart filled with anger and she said: “Lord Apollo who works from afar, I will set out an idea, since you intend to build a most beautiful temple
right here as a place of prophecy for mortals, who will always offer you perfect bulls by the hundred. 260 I will spell it out for you-toss it into your mind:
the clatter of prancing horses will always bother you and the mules being watered from my sacred springs. Here, someone of humanfolk will want to ogle
finely crafted chariots and the stamping of fast horses more than your great temple and the many goods inside.
Hymn 3 Apollo: band 33
But if you might be persuaded-since you are mightier and better than I, Lord, with the greatest strength-
build in Krisa under the cleft of Parnassus. In Krisa, no fancy chariots will rumble, 270
no swift-footed horses will stamp around your fine altars. Those famous tribes of humans may bring you gifts
as ‘Iepaean’ the Healer, and you will enjoy accepting the lovely sacred objects from people around there.”
Thus she convinced the Far-shooter, so Telphusa herself might get the glory on earth, instead of the Far-shooter.
So, going farther, Apollo who strikes from afar, you came to the city of insolent Phlegyan men, who disregard Zeus, living on the land
Hymn 3 Apollo: band 35
in a wooded valley near the Kephisian lake. 280 You kept going quickly, rushing to the ridge, until you came to Krisa under snowy Parnassus,
a west-facing crag; a cliff juts out above and a deep, rugged valley runs below. Lord Phoibos Apollo determined to build
his lovely temple on that spot, and said: “I intend to build a most beautiful temple right here as a place of prophecy for mortals,
who will always offer me perfect bulls by the hundred. People living in the rocky Peloponnesus, in Europe, 290
To all of them, I will prophesy
unerring counsel, declaring oracles in my rich temple.” After speaking, Phoibos Apollo set the foundations wide and continuous. The sons of Erginos,
Hymn 3 Apollo: band 37
Trophonius and Agamedes, dear to the immortal gods, placed a marble threshold on the foundations. The countless human race crafted a temple
with polished stones, a temple to be a song forever. A lovely stream runs near, where the son of Zeus 300 used his mighty bow to kill a she-dragon,
a great, fat, wild monster, who persisted in wreaking much evil on men-on the men themselves
and often on their rangy sheep-a very bloody bane. She once accepted Typhon, terrible and cruel, from gold-enthroned Hera, nursing that man-killer
whom Hera bore in her fury at Father Zeus because the glorious son of Kronos bore Athena from his head. At that, Queen Hera was enraged
and spoke among the assembled gods: 310 “Hear me, all you gods and goddesses, how cloud-wrangling Zeus begins to dishonor me
Hymn 3 Apollo: band 39
first, although he made me his trustworthy wife. Now apart from me, he bore owl-eyed Athena- whom he sets above all the blessed gods-
but he begot my lame-footed son Hephaistos, whom I bore, a weakling among all the gods. I grabbed him, hurled him into the wide sea,
but Thetis, silver-footed daughter of Nereus, welcomed him and tended him among her own sisters- 320
I wish she would favor the blessed gods some other way. Cruel, cunning trickster, what else will you plan?
How dare you bear owl-eyed Athena on your own? Could not I have borne her? I was still called yours
among the immortals who live in wide heaven. Watch out that I do not devise some evil in return.
Hymn 3 Apollo: band 41
I will scheme to bear a child who will rule the immortal gods. I, at least, will not shame our holy marriage, but I will not approach your bed. Away, far away
from you, I will still count among the undying gods!” 330 In great fury, she stormed from the gods. Eyes dark and wide as a cow’s, Queen Hera prayed
and with down-turned palm struck the earth: “Now hear me Earth and wide Heaven above, and Titans, gods beneath the earth, dwelling around
great Tartaros, from whom men and gods derive: all hear me and grant me a child apart from Zeus, in no way weaker in strength than he, a child greater
than Zeus by as much as Zeus is greater than Kronos.” And she struck the earth with her massive hand. 340 Then life-bearing Earth shifted; Hera rejoiced
in the sight, believing her prayer would be fulfilled. From that moment on for a complete year Hera never came to the bed of cunning Zeus,
Hymn 3 Apollo: band 43
nor ever to her finely worked throne as before, where she used to plan complicated councils with him. Cow-eyed Queen Hera stayed in her temple
that echoed with prayers, enjoying sacred sheep. When the months and days were completed, the year revolved again and the seasons came, 350
Hera bore Typhon, unlike a god or a human, clever, awful and cruel, a bane for mortal folk. At once, cow-eyed Queen Hera brought
Further source depth
and so the two goddesses flew like sky doves. When the labor goddess landed on Delos,
Hymn 3 Apollo further 40
labor seized Leto; she strove to give birth. She threw her arms around a date palm tree,
knees sinking in the soft meadow, and Earth smiled. The baby leapt toward the light and all the goddesses cried aloud. Lord Phoibos, the goddesses bathed you 120
in holy, pure water; they swaddled you in a delicate, new white cloth, fastened with a golden band. His mother did not nurse Apollo of the golden blade;
Themis, instead, offered nectar and sweet ambrosia in her immortal hands. Then Leto rejoiced
that she bore a strong son, an archer. But when you, Phoibos, devoured the immortal food, the golden cords could not hold as you struggled,
Hymn 3 Apollo further 45
the ties no longer hindered you, all the ropes fell free. At once Phoibos Apollo addressed the immortals: 130
“The lyre and the curved bow shall ever be dear to me, and I will proclaim to humans the unerring will of Zeus.”
With that, unshorn Phoibos, who strikes from afar, strode on the earth’s broad paths and all the immortal goddesses were astounded. Then Delos everywhere
grew heavy with gold, beholding Zeus and Leto’s child, joyous that the god chose her as his home,
that out of all islands and lands, he loved her more. Like a hilltop with forest flowers, Delos blossomed with gold.
Hymn 3 Apollo further 50
Silverbow Apollo, Lord who strikes from afar, 140 you walked all over rocky Mount Kynthos,
then you roamed the other islands, among all men. Your temples and sacred groves are many. All high places, the mountain headlands,
and rivers flowing seaward please you. Yet your heart, Phoibos, most delights in Delos where the Ionians, in trailing robes, gather
with their children and respected wives. They please you when they hold their contests,
remembering you with boxing matches, dance, and song. 150 One would say they are immortal, forever unaging,
Hymn 3 Apollo further 55
if one came upon them, thronged together. Seeing the grace of them all, one would delight at the sight of men and well-dressed women,
swift ships and the Ionians’ many possessions. And the greatest marvel, whose fame will never die:
the Delian girls, servants of the god of a hundred arrows. They begin a hymn celebrating Apollo in song, Leto next and Artemis, who rains arrows,
and then, remembering the men and women of old, 160 they sing an epic tale-they enchant the people. They know how to mimic the sounds of all folk
and the rattling of castanets; each person would hear his own voice singing, so well do they craft the song. Now may Apollo, along with Artemis, be gracious,
Hymn 3 Apollo further 60
and all you girls fare well. Remember me ever after, whenever some man of the earth, a stranger who has suffered much, comes here and asks:
“Girls, which man’s song is sweetest to you of those landing here, and who delights you most?” 170 Then you all answer so well about us:
“The blind man, who lives in rugged Chios, whose songs all remain the best forever.” We will carry your fame so far over the earth
as we travel about the crowded cities of people. They will be persuaded, since it is the truth. Yet, I will not stop celebrating the skillful Archer,
Silverbow Apollo, son of fair-haired Leto. Lord, Lykia and lovely Maionia are yours,
Hymn 3 Apollo further 65
and Miletos, charming city by the sea. 180 And you most powerfully rule the island Delos. Strumming the hollow lyre, Leto’s glorious son
roams toward rocky Pytho, wearing clothes fragrant and divine. The lyre has a haunting, sweet sound
under the golden pick when he plays. Swift as thought, he leaves earth for Zeus’ Olympian house among the assembly of gods;
at once the gods heed the lyre and song. The Muses respond as one, their rich voices singing the gods’ undying gifts and the sufferings 190
that the deathless gods inflict on human folk who live witless and helpless, unable to find
Hymn 3 Apollo further 70
a cure for death or defense against old age. Then the rich-haired Graces, gracious Horai, Harmonia, Hebe, and Zeus’ daughter, Aphrodite,
all dance together joining hands at their wrists. Among them sings a goddess neither ugly nor short, but statuesque, a stunning beauty to behold:
Artemis, who rains arrows, the sister of Apollo. Among them, too, play Ares and sharp-eyed Hermes. 200 As Phoibos Apollo plays the lyre, stepping high
and fine, radiance blazes around him, the dancers’ feet flashing from under fine-spun robes. Golden-haired Leto and wise Zeus
greatly rejoice in their hearts to watch their dear son playing among the immortal gods.
Hymn 3 Apollo further 75
How to praise you, celebrated in so many hymns? Shall I sing about you as wooer and lover: How you and godlike Iskhus, son of Elatos the horseman,
rivaled in wooing Koronis, daughter of Azan? 210 Or you with rivals Phorbas, son of Triops, or Ereutheus? Or with Leukippos and Leukippos’ lady, Daphne,
one on foot, the other riding? He did not fall short of Triops. Shall I sing of how you, Apollo who strikes from afar,
searched the earth for a place of prophecy for mortals? First you traveled from Olympos to Pieria, past sandy Lekton and the Ainianes,
past the land of the Perraiboi. You came swiftly to Iolkos, and Kenaion in Euboea, famous for ships. As you stood on the Lelanton plain, the place 220
Hymn 3 Apollo further 80
did not please you for your temple and grove. Crossing the Euripos, Apollo who strikes from afar, you climbed the divine, green mountain. Quickly,
you left there for Mykalessos and grassy Teumessos. Then you came to Thebes, a place covered in forest- for no mortals yet made their home in holy Thebes,
there were no paths or roads yet in the wheat plain, and Thebes was still held by woods. Going further, Apollo who strikes from afar,
you reached Onchestos, Poseidon’s luminous grove. 230 There, in a ritual to Poseidon, a newly tamed colt
breathes heavily, distressed from pulling a fine chariot, then his good driver leaps from the car to the path.
Hymn 3 Apollo further 85
Free of control, the horses rattle their empty vessels. If the chariots are shattered in the grove,
people tend the horses, but leave the chariots lying. Thus the ritual was born: they pray to Poseidon,
and Moira will guard the god’s chariot. You reached that grove later, Apollo who strikes from afar. Then you encountered the fine-flowing Kephisos, 240
which rushes out, its waters pouring from Lilaia. Walking through it and Okaleia of many towers, you,
who work from afar, happened upon grassy Haliartos. Finally, you reached Telphusa, a pristine place
Hymn 3 Apollo further 90
to establish your temple and grove. Standing very close, you told her: “Telphusa, I intend to build a most beautiful temple
right here as a place of prophecy for mortals, who will always offer me perfect bulls by the hundred. People living in the rocky Peloponnesus, in Europe, 250
To all of them, I will prophesy
unerring counsel, declaring oracles in my rich temple.” After speaking, Phoibos Apollo set the foundations wide and extremely long. When Telphusa saw that,
her heart filled with anger and she said: “Lord Apollo who works from afar, I will set out an idea, since you intend to build a most beautiful temple
Hymn 3 Apollo further 95
right here as a place of prophecy for mortals, who will always offer you perfect bulls by the hundred. 260 I will spell it out for you-toss it into your mind:
the clatter of prancing horses will always bother you and the mules being watered from my sacred springs. Here, someone of humanfolk will want to ogle
finely crafted chariots and the stamping of fast horses more than your great temple and the many goods inside.
But if you might be persuaded-since you are mightier and better than I, Lord, with the greatest strength-
build in Krisa under the cleft of Parnassus. In Krisa, no fancy chariots will rumble, 270
Hymn 3 Apollo further 100
no swift-footed horses will stamp around your fine altars. Those famous tribes of humans may bring you gifts
as ‘Iepaean’ the Healer, and you will enjoy accepting the lovely sacred objects from people around there.”
Thus she convinced the Far-shooter, so Telphusa herself might get the glory on earth, instead of the Far-shooter.
So, going farther, Apollo who strikes from afar, you came to the city of insolent Phlegyan men, who disregard Zeus, living on the land
in a wooded valley near the Kephisian lake. 280 You kept going quickly, rushing to the ridge, until you came to Krisa under snowy Parnassus,
Hymn 3 Apollo further 105
a west-facing crag; a cliff juts out above and a deep, rugged valley runs below. Lord Phoibos Apollo determined to build
his lovely temple on that spot, and said: “I intend to build a most beautiful temple right here as a place of prophecy for mortals,
who will always offer me perfect bulls by the hundred. People living in the rocky Peloponnesus, in Europe, 290
To all of them, I will prophesy
unerring counsel, declaring oracles in my rich temple.” After speaking, Phoibos Apollo set the foundations wide and continuous. The sons of Erginos,
Hymn 3 Apollo further 110
Trophonius and Agamedes, dear to the immortal gods, placed a marble threshold on the foundations. The countless human race crafted a temple
with polished stones, a temple to be a song forever. A lovely stream runs near, where the son of Zeus 300 used his mighty bow to kill a she-dragon,
a great, fat, wild monster, who persisted in wreaking much evil on men-on the men themselves
and often on their rangy sheep-a very bloody bane. She once accepted Typhon, terrible and cruel, from gold-enthroned Hera, nursing that man-killer
whom Hera bore in her fury at Father Zeus because the glorious son of Kronos bore Athena from his head. At that, Queen Hera was enraged
Hymn 3 Apollo further 115
and spoke among the assembled gods: 310 “Hear me, all you gods and goddesses, how cloud-wrangling Zeus begins to dishonor me
first, although he made me his trustworthy wife. Now apart from me, he bore owl-eyed Athena- whom he sets above all the blessed gods-
but he begot my lame-footed son Hephaistos, whom I bore, a weakling among all the gods. I grabbed him, hurled him into the wide sea,
but Thetis, silver-footed daughter of Nereus, welcomed him and tended him among her own sisters- 320
I wish she would favor the blessed gods some other way. Cruel, cunning trickster, what else will you plan?
Hymn 3 Apollo further 120
How dare you bear owl-eyed Athena on your own? Could not I have borne her? I was still called yours
among the immortals who live in wide heaven. Watch out that I do not devise some evil in return.
I will scheme to bear a child who will rule the immortal gods. I, at least, will not shame our holy marriage, but I will not approach your bed. Away, far away
from you, I will still count among the undying gods!” 330 In great fury, she stormed from the gods. Eyes dark and wide as a cow’s, Queen Hera prayed
and with down-turned palm struck the earth: “Now hear me Earth and wide Heaven above, and Titans, gods beneath the earth, dwelling around
Hymn 3 Apollo further 125
great Tartaros, from whom men and gods derive: all hear me and grant me a child apart from Zeus, in no way weaker in strength than he, a child greater
than Zeus by as much as Zeus is greater than Kronos.” And she struck the earth with her massive hand. 340 Then life-bearing Earth shifted; Hera rejoiced
in the sight, believing her prayer would be fulfilled. From that moment on for a complete year Hera never came to the bed of cunning Zeus,
nor ever to her finely worked throne as before, where she used to plan complicated councils with him. Cow-eyed Queen Hera stayed in her temple
that echoed with prayers, enjoying sacred sheep. When the months and days were completed, the year revolved again and the seasons came, 350
Hymn 3 Apollo further 130
Hera bore Typhon, unlike a god or a human, clever, awful and cruel, a bane for mortal folk. At once, cow-eyed Queen Hera brought
evil to evil and the she-dragon welcomed him- Typhon did much harm to the glorious human race. Whoever met the she-dragon died that day,
until Lord Apollo, who works from afar, shot her with a piercing arrow-she lay down, shattered
with brutal pain, wheezing heavily, thrashing on the ground. Her divine cry became unspeakable-writhing 360 without ceasing amid the woods, she left her life
breathing out her blood-red spirit. Phoibos Apollo boasted: “Now rot here on the man-feeding earth. You will not be an evil plague for living mortals,
Hymn 3 Apollo further 135
who eat the fruit of the fertile earth, who here will offer perfect bulls by the hundred. Neither cruel Typhon nor infamous Chimera
will help you ward off death, but on this spot the black earth and rays of the sun will rot you.”
As he boasted over her, darkness covered her eyes. 370 There she rotted under the holy strength of Helios- which is why that place is now called “Pytho” and men
call Apollo the Pythian Lord because right there the strength of piercing Helios “rotted” the monster. Then Phoibos Apollo knew in his heart
that the sweet-flowing spring had tricked him- at once he stormed off, furious with Telphusa. Looming over her, Apollo said:
Hymn 3 Apollo further 140
“Telphusa, you did not expect to keep this lovely place pouring your fluid waters after deceiving me. 380 My glory will hold sway here, and not yours alone.”
Then Lord Apollo who works from afar heaved a crag on top of her, burying her spring with a shower of stones. He built an altar in the sacred grove
close by the once sweet-flowing stream, where everyone prayed to Apollo as “Telphusian”
because he despoiled the waters of holy Telphusa. After that, Phoibos Apollo considered in his heart which men he might bring in as priests
who would be his servants in rocky Pytho. 390 While pondering this, he noticed a swift ship on the wine-dark sea. Many good men were aboard:
Hymn 3 Apollo further 145
Cretans from Minoan Knossos, who perform sacrifices for the Gold-bladed Lord and announce prophecies from Phoibos Apollo, whenever he delivers an oracle
from the laurel tree in the hollow under Mount Parnassus. They were sailing, in their dark ship, to sandy Pylos
to do business and trade with the Pylians. In the form of a dolphin, Phoibos Apollo joined them at sea, leaping aboard their swift ship 400
and lying there-a huge and terrible monster. When any of the sailors pondered, trying to understand,
Apollo tossed him all about, shaking the ship’s timbers. He lay in silence on the ship and they were afraid.
Hymn 3 Apollo further 150
The sailors did not loosen the hollow ship’s rigging, nor ease the sail of their blue-prowed ship. The sail remained taut with oxhide ropes,
holding the ship to its course. A strong south wind rushed the swift ship along. First, they passed Cape Malea. Then, along the Laconian coast, they reached 410
the land of the joy-giving sun, Cape Tainaron ringed by sea, where the woolly sheep of Lord Helios
always graze, dwelling in their delightful land. They wished to put the ship ashore there, disembark to understand the great marvel and see if the monster
would remain on the deck of the hollow ship or if he would dart away into a salty swell, rich with fish.
Hymn 3 Apollo further 155
But the well-built ship did not obey its steering oars. With the fertile Peloponnesus to the right, it pushed on-
with his breath, Lord Apollo who works from afar 420 easily guided the ship, which kept sailing along its route passing Arena, beautiful Argyphea and Thryon,
the path of Alpheos, and well-placed Aepy, and sandy Pylos with all its people, passing Cruni, Chalcis, Dyme,
and shining Elis where the Epeoi rule. As the ship headed for Phera, running with Zeus’ wind, Ithaca’s steep mountain appeared from the clouds,
Characters and arcs
Apollo matters as archer and oracle. Track speech, gift, shame, and seat.
Leto matters as labouring mother. Track speech, gift, shame, and seat.
Delos matters as island that accepts. Track speech, gift, shame, and seat.
Telphusa matters as rival spring. Track speech, gift, shame, and seat.
Python matters as guardian slain. Track speech, gift, shame, and seat.
Cretans matters as imported priests. Track speech, gift, shame, and seat.
Hera matters as blocker. Track speech, gift, shame, and seat.
Zeus matters as sovereign. Track speech, gift, shame, and seat.
Themes, motifs, style
Theme: Delos birth. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Pythian foundation. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Telphusa. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Python. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Cretan priests. Rayor's English keeps hexameter narrative speakable for performance and class.
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Meaning
This hymn advances a god's honour under Zeus. Tokens (pomegranate, lyre, Delos, cattle, desire) outlive speeches.
Hymn 4 to Hermes
Hymn 4 Hermes: spine
Hymn 4 Hermes: chain
Hymn 4 Hermes: hub
Central claim
Hermes wins honour by craft and theft that Zeus finds funny enough to ratify; exchange, not war, seats the new god. Performance and cult honour share one plot under Zeus.
Birth dawn: cradle. The hymn moves one notch of honour or cost.
Hymn 4 Hermes: beat 0
Tortoise lyre: invent. The hymn moves one notch of honour or cost.
Cattle theft: tracks reverse. The hymn moves one notch of honour or cost.
Hymn 4 Hermes: beat 2
Apollo search: anger. The hymn moves one notch of honour or cost.
Zeus laugh: court. The hymn moves one notch of honour or cost.
Hymn 4 Hermes: beat 4
Exchange: lyre herds. The hymn moves one notch of honour or cost.
Honour: seated. The hymn moves one notch of honour or cost.
Hymn 4 Hermes: beat 6
Second pass
- HYMN TO HERMES Muse, sing of Hermes, son of Zeus and Maia, Guardian of Mount Kyllene and Arcadia, rich in flocks,
Luck-bringing messenger of gods, whom Maia bore when the fair-haired nymph joined in love with Zeus. Shunning the crowd of blessed gods, the revered goddess
lived in the shady cave where the son of Kronos used to lie with her in the dark of night (while sweet sleep held white-armed Hera)
Hymn 4 Hermes: band 1
unnoticed by immortal gods and mortal men. When great Zeus accomplished his goal, the tenth lunar month was fixed in heaven
and illuminated a work worth noticing: Maia bore a wily child with a seductive mind- a robber, cattle rustler, guide of dreams,
who stands watch by night, guardian at the gate, who would soon reveal glorious deeds among immortal gods. Born at dawn, at midday he played the lyre,
at dusk he stole the cattle of Apollo the skillful Archer, on that fourth day of the month Queen Maia bore him. When he leapt from his mother’s immortal womb,
he did not lie long in his holy cradle, but sprang up to search for Apollo’s cattle,
out over the threshold of the high-arching cave. There he found a tortoise and won immense wealth:
Hymn 4 Hermes: band 3
Hermes first made the tortoise a singer. Feeding on the rich grasses by the house, light-footed, she chanced upon him at the door. The luck-bringing son of Zeus
gazed at her, laughed and said: “A lucky omen for me, not bad! Hello, pleasing sight, lovely lady-friend at the feast,
heartbeat of the dance! Where did you get that pretty toy, that speckled shell of yours, dear mountain tortoise? I’ll bring you in and you’ll do me good
and to your benefit, although mine first. Better to stay in, as it’s dangerous out there. You’ll ward off painful spells while alive,
but if you should die, you’ll sing most beautifully.” At once he picked her up in his hands
and carried the lovely toy into the house. Then, flipping her over, with an iron carving knife
Hymn 4 Hermes: band 5
he scooped out the mountain tortoise’s marrow. As when swift thought pierces the chest of a man haunted by crowded cares or when sparks flash from a man’s eyes,
so soon glorious Hermes devised word and deed. Cutting reed stalks to measure, he fastened them
by piercing through the back of the tortoise shell. His mind intent, he stretched cowhide around the front, inserted two arms, joined them with a crossbar,
and strung seven harmonious strings of sheep-gut. When he finished, he held the lovely toy and tried each strain with the pick,
her sound haunting under his touch. Like young men provoking each other at feasts, the god sang along beautifully with the lyre,
improvising tales of the amorous love talk between Kronos’ divine son and Maia in fine sandals:
Hymn 4 Hermes: band 7
Hermes celebrated in song his own famous conception. And he honored Maia’s handmaids and bright house,
the tripods and abundant cauldrons inside. Yet while he sang, his heart desired other things. Then Hermes placed the hollow lyre
into his holy cradle. Craving meat, he sprang from the fragrant great hall to a promontory, thinking through utter trickery in his mind
as thieves plot in the black of night. At that moment, Helios, with chariot and horses,
was setting beneath the earth toward Ocean. Hermes sped toward the shady mountains of Pieria where the blessed gods kept their divine cattle,
who grazed the pleasant overgrown meadows. Maia’s son, the keen-eyed Slayer of Argos,
Hymn 4 Hermes: band 9
stole fifty from the herd of loud-bellowing cattle. He drove the wandering cows through a sandy place, turning their tracks backward. Using a skillful trick,
he reversed their hooves, making the front behind and the hind in front, while he faced forward. On the sand by the sea, he wove wicker sandals,
amazing things, unheard of and unimagined, mixing together tamarisk and myrtle twigs. Fastening together the new budding wood,
he tied the light sandals securely under his feet, leaves and all. The glorious Slayer of Argos took off from Pieria, shunning plain walking,
shod as if for hastening on a long journey-a unique god. But an old man digging his blooming vineyard saw him
hurrying to the plain through grassy Onchestos. The splendid son of Maia said to him: “Old Man, bent over hoeing around your plants,
Hymn 4 Hermes: band 11
you’ll have a lot of wine when they all fruit [missing line] [if you] don’t see what you’ve seen, are deaf to what you’ve heard
and keep quiet, since my business doesn’t hurt yours.” Saying that, he urged on the head of cattle. Hermes drove them over shadowy mountains,
echoing valleys, and plains in full bloom. With most of divine night-his dark ally-ending,
the workingman’s dawn would soon appear. As shining Selene (moon daughter of Lord Pallas, son of Megamedes) ascended a steep peak, 100
the brave son of Zeus drove Phoibos Apollo’s broad-chested cattle over the Alpheos river. Still untamed, they reached the arching cave
and the troughs by the bountiful meadow. After he had amply fed the loud-bellowing cows on fodder of lotus and dewy galingale grasses,
Hymn 4 Hermes: band 13
he drove them crowded together into the fold. Then he gathered some wood, seeking the skill of fire. With a knife, he stripped a shining laurel bough
[missing line] fitting tightly in his palm, the hot flame flared up. 110 (Hermes was the first to give us sticks to ignite fire.)
He piled up many dry logs and packed them tightly into a pit in the ground: the glowing flame
spurted out a great blast of searing fire. While the power of Hephaistos fed the blaze, Hermes dragged two bellowing cows
outside near the flame; potent strength came to him. Throwing them on their backs, they lay panting
as he rolled them over and pierced their backbones. He added more work, cutting meat rich with fat; 120 he roasted the meat pierced with wooden spits,
Hymn 4 Hermes: band 15
the flesh with the honorable back and dark blood enclosed in the guts, and set it down right there. Then he stretched out the hides on a rugged rock,
as they are even now, long since then, long after these events and forever. His heart delighted, Hermes pulled the rich meat
onto a smooth, flat stone and cut twelve portions divided by lot, setting out each perfect prize. Glorious Hermes craved the offering of meat, 130
for the sweet scent rubbed at him-him a god!- but his manly spirit could not persuade him,
despite his great desire to shove it down his sacred throat. Instead, he set all the meat and fat in the cave, quickly lifting them up high in midair,
a sign of his recent theft. Then, heaping on dry wood, he destroyed the hooves and heads in the fire’s breath.
Hymn 4 Hermes: band 17
When he had finished everything according to its need, the god threw his sandals into the deep-eddying Alpheos,
quenched the embers, and sanded smooth the black ashes 140 through the night, as the lovely light of Selene shone down.
He quickly returned to the shining peak of Kyllene at dawn. During his long journey no one met him, none of the blessed gods, no mortal men,
nor did dogs bark. Swift Hermes, son of Zeus, turning sideways entered through the keyhole of his house,
like a late summer breeze, even as mist. Going straight through the cave, he walked softly
into the rich temple, with no usual sounds on the floor. In haste, glorious Hermes climbed into his cradle. 150
Hymn 4 Hermes: band 19
Wrapping his swaddling clothes around his shoulders like a newborn, he lay fingering the cloth about his knees,
keeping the lovely tortoise to the left of his hand. But the god did not escape the notice of his goddess mother:
“Where have you been, you trickster, coming here at night wrapped in shamelessness? Now I truly believe that soon, bound by Leto’s son with unbreakable chains
around your ribs, you’ll leave through these doors, or, meanwhile, you’ll be a thief who raids mountain glens.
Away again! Your father bore you to be a great pest 160 for mortal men and immortal gods.” Hermes answered her with cunning words:
“Oh mother, why put these things to me as if to a newborn, whose heart scarce knows evil,
Hymn 4 Hermes: band 21
who cowers in fear, behind its mother’s scoldings? I’ll practice whatever art is best to serve you and me forever. And the two of us
won’t put up with staying here, as you insist, the only immortal gods with no gifts and no food. Far better to chat every day among the gods, 170
rich, really rich, with grain crops aplenty, than to sit at home in a misty cave. As for honor,
I too will receive the same holy rites as Apollo. If my father won’t give them to me,
then I’ll become the prince of thieves-watch me. If Leto’s famous son tracks me down, I think he’s got something bigger coming:
I’ll go to Pytho and break into his great house. There, I’ll swipe many splendid tripods, cauldrons and gold, plenty of flashing iron 180
Hymn 4 Hermes: band 23
and heaps of clothing: you’ll see, if you want.” With such words they spoke together,
the son of Zeus, who holds the aegis, and Queen Maia. Early-born Dawn, bringing light to mortals, rose from deep-flowing Ocean. But Apollo
came to Onchestos to the lovely sacred grove of Poseidon, the Earthshaker. He found an old man
grazing his beast along the path, by the garden fence. Leto’s famous son began speaking to him: “Old Man of grassy Onchestos, picking berries, 190
I came here from Pieria searching for my cattle- cows all of them, all with twisted horns- from my herd. The black bull grazes apart
from the others, but keen-eyed dogs follow them, four dogs like men of one mind. Dogs and bull
Hymn 4 Hermes: band 25
were left behind, a marvel, to be sure. But the cows took off, right after sunset,
out of the soft meadow, away from the sweet pasture. Tell me, Old Man born long ago, if you have seen any man making away with those cows.” 200
The old man answered him, saying: “My friend, it is hard to tell everything one might see with one’s eyes: many travelers take this road
some eager for much evil, some much good, as they wander-it is difficult to learn of each. But all day until the sun set I was digging
about the hills of my wine-growing vineyard. I thought, Sir, can’t say for sure, that I saw a baby of some sort following the curly-horned cattle,
a newborn, holding a staff and walking side to side, 210 driving them backward, their heads facing him.”
Hymn 4 Hermes: band 27
Hearing the old man’s account, Apollo sped on his way. He noticed a long-winged bird and knew at once
that the thief was a child of Zeus, son of Kronos. Hurriedly Lord Apollo, son of Zeus, dashed to holy Pylos seeking his rambling cattle;
a purple cloud covered his broad shoulders. When the skillful Archer spied the tracks, he said:
“What! My eyes see quite a marvel! These are the tracks of my horned cattle, 220 but they are turned back to the asphodel meadow.
And these are not footprints from man or woman, from gray wolves, bears, or lions-
nor, I expect, those of a shaggy-necked centaur. Whose swift feet would have such monstrous strides, dreadful footprints on this side, more dreadful on that?”
Hymn 4 Hermes: band 29
So saying, Lord Apollo, son of Zeus, sped away to forested Mount Kyllene, to the cave hidden in shadows where the divine nymph
bore the child of Zeus, son of Kronos. 230 A pleasant scent drifted over the holy mountain;
many lanky sheep grazed the grasses. Apollo, who strikes from afar, quickly strode
over the stone threshold, into the misty cave. Hermes, son of Zeus and Maia, saw Apollo
the skillful Archer, furious over his cattle. He snuggled down into his fragrant swaddling clothes: as wood ash covers the hot embers of tree stumps,
so Hermes curled up, seeing the one who works from afar. He drew in tight his head, hands, and feet 240
Hymn 4 Hermes: band 31
like an infant after his first bath, inviting sweet sleep, though truly wide awake, holding the lyre under his arm. But the son of Zeus and Leto saw and knew
the beautiful mountain nymph and her son, a little baby wrapped in cunning plots. Looking around, up and down the inner chambers
of the great house, with a shining key he opened three closets full of nectar and lovely ambrosia. Ample gold and silver lay within the house
and the nymph’s many purple and silvery clothes, 250 as are kept in the sacred homes of the blessed gods. When the son of Leto had thoroughly searched
the recesses of the great house, he said to famous Hermes: “Child, lying in the cradle, tell me of my cattle
at once, or quickly we two will have a rough fight. I will hurl you, throw you down into misty Tartaros,
Hymn 4 Hermes: band 33
to the darkness of terrible, inescapable doom. Your mother or father will not free you to the light; you will wander underground, leader among little men.”
Hermes answered him with crafty words: 260 “Leto’s son, what cruel things you say!
And you come here looking for field cattle? I haven’t seen or learned of them, or heard a word;
I couldn’t tell or win a reward for such a tale. I don’t look like a cattle rustler, a strong man, nor is that my business. I care about other things,
like sleep, my mother’s milk, swaddling clothes wrapped round my shoulders, and warm baths.
May no one hear about this quarrel! Yes, the gods would be thoroughly amazed 270 that a newborn baby could lead cattle from the field
Hymn 4 Hermes: band 35
through these doors-you’ve got me all wrong. I was born yesterday, my feet are soft, the ground rough. If you wish, I will swear a great oath
on my father’s head: I claim that I’m not guilty nor have I seen anyone else steal your cattle- whatever cattle are-I’ve heard only by rumor.”
So he said, with a gleam in his eyes, and wiggled his brows, looking here and there,
whistling along, as if listening to an idle tale. 280 Apollo, who works from afar, laughed softly: “You cheating trickster, yes, by the way you talk
I think you broke into many rich houses last night and more than one man you left sitting on a bare floor,
after silently plundering his house. I predict you will grieve many shepherds in mountain valleys, whenever, craving flesh,
Hymn 4 Hermes: band 37
you chance upon their cattle and woolly sheep. Come now, or you will enjoy your last and latest sleep;
get out of your cradle, companion of dark night. 290 Hereafter, among the gods you will have this prize: you will be called the prince of thieves forever.”
Seizing the baby, Phoibos Apollo carried him off. Then, taking stock, the strong Slayer of Argos sent out an omen while held in Apollo’s hands:
a gassy omen from his body, a rude messenger. And right after that, he sneezed. Apollo heard
and flung glorious Hermes to the ground. Though eager for the journey, Apollo squatted in front of Hermes and taunted him: “Take courage, 300
baby in swaddling clothes, son of Zeus and Maia: I will find my strong head of cattle after all- by these omens. Now lead the way.”
Hymn 4 Hermes: band 39
Kyllenian Hermes sprang up again in haste, pushing up his swaddling clothes, wrapped about his shoulders, to his ears and said:
“Brute of the gods, who works from afar, where are you taking me? Why bother me because you’re angry
about cattle? Oh, I wish all cattle would just die! I didn’t steal your cattle or see another steal them, 310
whatever cattle are-I’ve heard only by rumor. Take your case before Zeus, the son of Kronos.” When each had questioned the other closely,
shepherd Hermes and the mighty son of Leto still kept their minds at odds. Apollo spoke truly [missing line] he justly seized glorious Hermes over the cattle,
but with skillful and twisted words Hermes wished to deceive the silver-bowed god. His mind was great, but great, too, was Apollo’s power,
Hymn 4 Hermes: band 41
so Hermes walked quickly across the sand, 320 with the son of Zeus and Leto following him. Soon the handsome sons of Zeus found their father,
the son of Kronos, atop fragrant Olympos. There lay the scales of justice for both of them. On snowy Olympos, the crowd of undying gods
assembled after the rising of gold-throned Dawn. Hermes and Apollo of the Silver Bow stood before the knees of Zeus. Loud-thundering Zeus
spoke to his brilliant son, asking him: “Phoibos, where did you find such agreeable plunder,
a newborn baby with the nature of a herald? A weighty matter comes before the assembly of gods.” Lord Apollo, who works from afar, answered:
“Father, you will soon hear no feeble tale, jeering that I alone am fond of plunder. After crossing many lands, I found a child,
Hymn 4 Hermes: band 43
this piercing robber, in the mountains of Kyllene- impudent, such as I have never seen among gods
or men, who are such great thieves on earth. Stealing my cows from their meadow in the evening, 340 he drove them by the shore of the crashing sea
straight to Pylos-the monstrous double tracks seemed wondrous, the work of a brilliant spirit. As for the cattle, the dark dust revealed
Further source depth
[missing line] fitting tightly in his palm, the hot flame flared up. 110 (Hermes was the first to give us sticks to ignite fire.)
Hymn 4 Hermes further 40
He piled up many dry logs and packed them tightly into a pit in the ground: the glowing flame
spurted out a great blast of searing fire. While the power of Hephaistos fed the blaze, Hermes dragged two bellowing cows
outside near the flame; potent strength came to him. Throwing them on their backs, they lay panting
as he rolled them over and pierced their backbones. He added more work, cutting meat rich with fat; 120 he roasted the meat pierced with wooden spits,
the flesh with the honorable back and dark blood enclosed in the guts, and set it down right there. Then he stretched out the hides on a rugged rock,
Hymn 4 Hermes further 45
as they are even now, long since then, long after these events and forever. His heart delighted, Hermes pulled the rich meat
onto a smooth, flat stone and cut twelve portions divided by lot, setting out each perfect prize. Glorious Hermes craved the offering of meat, 130
for the sweet scent rubbed at him-him a god!- but his manly spirit could not persuade him,
despite his great desire to shove it down his sacred throat. Instead, he set all the meat and fat in the cave, quickly lifting them up high in midair,
a sign of his recent theft. Then, heaping on dry wood, he destroyed the hooves and heads in the fire’s breath.
Hymn 4 Hermes further 50
When he had finished everything according to its need, the god threw his sandals into the deep-eddying Alpheos,
quenched the embers, and sanded smooth the black ashes 140 through the night, as the lovely light of Selene shone down.
He quickly returned to the shining peak of Kyllene at dawn. During his long journey no one met him, none of the blessed gods, no mortal men,
nor did dogs bark. Swift Hermes, son of Zeus, turning sideways entered through the keyhole of his house,
like a late summer breeze, even as mist. Going straight through the cave, he walked softly
Hymn 4 Hermes further 55
into the rich temple, with no usual sounds on the floor. In haste, glorious Hermes climbed into his cradle. 150
Wrapping his swaddling clothes around his shoulders like a newborn, he lay fingering the cloth about his knees,
keeping the lovely tortoise to the left of his hand. But the god did not escape the notice of his goddess mother:
“Where have you been, you trickster, coming here at night wrapped in shamelessness? Now I truly believe that soon, bound by Leto’s son with unbreakable chains
around your ribs, you’ll leave through these doors, or, meanwhile, you’ll be a thief who raids mountain glens.
Hymn 4 Hermes further 60
Away again! Your father bore you to be a great pest 160 for mortal men and immortal gods.” Hermes answered her with cunning words:
“Oh mother, why put these things to me as if to a newborn, whose heart scarce knows evil,
who cowers in fear, behind its mother’s scoldings? I’ll practice whatever art is best to serve you and me forever. And the two of us
won’t put up with staying here, as you insist, the only immortal gods with no gifts and no food. Far better to chat every day among the gods, 170
rich, really rich, with grain crops aplenty, than to sit at home in a misty cave. As for honor,
Hymn 4 Hermes further 65
I too will receive the same holy rites as Apollo. If my father won’t give them to me,
then I’ll become the prince of thieves-watch me. If Leto’s famous son tracks me down, I think he’s got something bigger coming:
I’ll go to Pytho and break into his great house. There, I’ll swipe many splendid tripods, cauldrons and gold, plenty of flashing iron 180
and heaps of clothing: you’ll see, if you want.” With such words they spoke together,
the son of Zeus, who holds the aegis, and Queen Maia. Early-born Dawn, bringing light to mortals, rose from deep-flowing Ocean. But Apollo
Hymn 4 Hermes further 70
came to Onchestos to the lovely sacred grove of Poseidon, the Earthshaker. He found an old man
grazing his beast along the path, by the garden fence. Leto’s famous son began speaking to him: “Old Man of grassy Onchestos, picking berries, 190
I came here from Pieria searching for my cattle- cows all of them, all with twisted horns- from my herd. The black bull grazes apart
from the others, but keen-eyed dogs follow them, four dogs like men of one mind. Dogs and bull
were left behind, a marvel, to be sure. But the cows took off, right after sunset,
Hymn 4 Hermes further 75
out of the soft meadow, away from the sweet pasture. Tell me, Old Man born long ago, if you have seen any man making away with those cows.” 200
The old man answered him, saying: “My friend, it is hard to tell everything one might see with one’s eyes: many travelers take this road
some eager for much evil, some much good, as they wander-it is difficult to learn of each. But all day until the sun set I was digging
about the hills of my wine-growing vineyard. I thought, Sir, can’t say for sure, that I saw a baby of some sort following the curly-horned cattle,
a newborn, holding a staff and walking side to side, 210 driving them backward, their heads facing him.”
Hymn 4 Hermes further 80
Hearing the old man’s account, Apollo sped on his way. He noticed a long-winged bird and knew at once
that the thief was a child of Zeus, son of Kronos. Hurriedly Lord Apollo, son of Zeus, dashed to holy Pylos seeking his rambling cattle;
a purple cloud covered his broad shoulders. When the skillful Archer spied the tracks, he said:
“What! My eyes see quite a marvel! These are the tracks of my horned cattle, 220 but they are turned back to the asphodel meadow.
And these are not footprints from man or woman, from gray wolves, bears, or lions-
Hymn 4 Hermes further 85
nor, I expect, those of a shaggy-necked centaur. Whose swift feet would have such monstrous strides, dreadful footprints on this side, more dreadful on that?”
So saying, Lord Apollo, son of Zeus, sped away to forested Mount Kyllene, to the cave hidden in shadows where the divine nymph
bore the child of Zeus, son of Kronos. 230 A pleasant scent drifted over the holy mountain;
many lanky sheep grazed the grasses. Apollo, who strikes from afar, quickly strode
over the stone threshold, into the misty cave. Hermes, son of Zeus and Maia, saw Apollo
Hymn 4 Hermes further 90
the skillful Archer, furious over his cattle. He snuggled down into his fragrant swaddling clothes: as wood ash covers the hot embers of tree stumps,
so Hermes curled up, seeing the one who works from afar. He drew in tight his head, hands, and feet 240
like an infant after his first bath, inviting sweet sleep, though truly wide awake, holding the lyre under his arm. But the son of Zeus and Leto saw and knew
the beautiful mountain nymph and her son, a little baby wrapped in cunning plots. Looking around, up and down the inner chambers
of the great house, with a shining key he opened three closets full of nectar and lovely ambrosia. Ample gold and silver lay within the house
Hymn 4 Hermes further 95
and the nymph’s many purple and silvery clothes, 250 as are kept in the sacred homes of the blessed gods. When the son of Leto had thoroughly searched
the recesses of the great house, he said to famous Hermes: “Child, lying in the cradle, tell me of my cattle
at once, or quickly we two will have a rough fight. I will hurl you, throw you down into misty Tartaros,
to the darkness of terrible, inescapable doom. Your mother or father will not free you to the light; you will wander underground, leader among little men.”
Hermes answered him with crafty words: 260 “Leto’s son, what cruel things you say!
Hymn 4 Hermes further 100
And you come here looking for field cattle? I haven’t seen or learned of them, or heard a word;
I couldn’t tell or win a reward for such a tale. I don’t look like a cattle rustler, a strong man, nor is that my business. I care about other things,
like sleep, my mother’s milk, swaddling clothes wrapped round my shoulders, and warm baths.
May no one hear about this quarrel! Yes, the gods would be thoroughly amazed 270 that a newborn baby could lead cattle from the field
through these doors-you’ve got me all wrong. I was born yesterday, my feet are soft, the ground rough. If you wish, I will swear a great oath
Hymn 4 Hermes further 105
on my father’s head: I claim that I’m not guilty nor have I seen anyone else steal your cattle- whatever cattle are-I’ve heard only by rumor.”
So he said, with a gleam in his eyes, and wiggled his brows, looking here and there,
whistling along, as if listening to an idle tale. 280 Apollo, who works from afar, laughed softly: “You cheating trickster, yes, by the way you talk
I think you broke into many rich houses last night and more than one man you left sitting on a bare floor,
after silently plundering his house. I predict you will grieve many shepherds in mountain valleys, whenever, craving flesh,
Hymn 4 Hermes further 110
you chance upon their cattle and woolly sheep. Come now, or you will enjoy your last and latest sleep;
get out of your cradle, companion of dark night. 290 Hereafter, among the gods you will have this prize: you will be called the prince of thieves forever.”
Seizing the baby, Phoibos Apollo carried him off. Then, taking stock, the strong Slayer of Argos sent out an omen while held in Apollo’s hands:
a gassy omen from his body, a rude messenger. And right after that, he sneezed. Apollo heard
and flung glorious Hermes to the ground. Though eager for the journey, Apollo squatted in front of Hermes and taunted him: “Take courage, 300
Hymn 4 Hermes further 115
baby in swaddling clothes, son of Zeus and Maia: I will find my strong head of cattle after all- by these omens. Now lead the way.”
Kyllenian Hermes sprang up again in haste, pushing up his swaddling clothes, wrapped about his shoulders, to his ears and said:
“Brute of the gods, who works from afar, where are you taking me? Why bother me because you’re angry
about cattle? Oh, I wish all cattle would just die! I didn’t steal your cattle or see another steal them, 310
whatever cattle are-I’ve heard only by rumor. Take your case before Zeus, the son of Kronos.” When each had questioned the other closely,
Hymn 4 Hermes further 120
shepherd Hermes and the mighty son of Leto still kept their minds at odds. Apollo spoke truly [missing line] he justly seized glorious Hermes over the cattle,
but with skillful and twisted words Hermes wished to deceive the silver-bowed god. His mind was great, but great, too, was Apollo’s power,
so Hermes walked quickly across the sand, 320 with the son of Zeus and Leto following him. Soon the handsome sons of Zeus found their father,
the son of Kronos, atop fragrant Olympos. There lay the scales of justice for both of them. On snowy Olympos, the crowd of undying gods
assembled after the rising of gold-throned Dawn. Hermes and Apollo of the Silver Bow stood before the knees of Zeus. Loud-thundering Zeus
Hymn 4 Hermes further 125
spoke to his brilliant son, asking him: “Phoibos, where did you find such agreeable plunder,
a newborn baby with the nature of a herald? A weighty matter comes before the assembly of gods.” Lord Apollo, who works from afar, answered:
“Father, you will soon hear no feeble tale, jeering that I alone am fond of plunder. After crossing many lands, I found a child,
this piercing robber, in the mountains of Kyllene- impudent, such as I have never seen among gods
or men, who are such great thieves on earth. Stealing my cows from their meadow in the evening, 340 he drove them by the shore of the crashing sea
Hymn 4 Hermes further 130
straight to Pylos-the monstrous double tracks seemed wondrous, the work of a brilliant spirit. As for the cattle, the dark dust revealed
hoofprints facing toward the asphodel meadow. But he himself, this impossible one, walked neither on his hands or feet across the sandy ground,
but using some other craft, wore tracks as strange as if someone could walk on slender oaks. While he drove them across the sandy ground, 350
all the tracks showed quite easily in the dirt, but when he passed beyond the long path of sand, the cows’ tracks and his own quickly became invisible
on the hard ground. A mortal man observed him driving the herd of broad-chested cattle straight to Pylos. Then he shut them in some secluded place
Hymn 4 Hermes further 135
and juggled about here and there on the path. Like black night, he lay down in his cradle in a misty cave deep in the dark; a keen-eyed eagle
could not have spied him. He rubbed his eyes 360 with his hands many times, preparing tricky lies. Right away, he told his story carelessly:
‘I haven’t seen or learned of them, or heard a word; I couldn’t tell or win the reward for such a tale.’”
With that, Phoibos Apollo sat down. Hermes told a different story to the immortals, revealed to the son of Kronos, leader of all gods:
“Father Zeus, I’ll tell you the truth: I’m honest and don’t even know how to lie. At sunrise today, Apollo came to our house 370
Hymn 4 Hermes further 140
looking for his rambling cattle. He brought no blessed gods as witnesses or spies. He ordered me to confess, tried forcing me,
kept threatening to throw me into wide Tartaros. He’s blooming with youth and loves glory, while I was born yesterday-as he knows-
nor do I look like a cattle rustler, a strong man. Believe me, since you boast you’re my father: I didn’t drive his cows to my house-so help me!-
nor walk back over the threshold; I speak the truth. 380 I greatly revere Helios and the other gods; I love you and fear him. You know
I’m not guilty. I’ll swear a great oath, yes, by these sturdy doors of the gods. Although he’s stronger, someday I’ll repay him
Hymn 4 Hermes further 145
for trespassing so cruelly. Defend the younger.” Glancing aside, the Slayer of Argos spoke,
clinging to the swaddling clothes on his arm. Zeus laughed aloud to see his deceitful child
so skillfully deny the business of the cattle. 390 He commanded both sons to have one mind in the search; Hermes the Guide to lead
and reveal the place-with no mischief in mind- where he had hidden the strong head of cattle. The son of Kronos nodded and Hermes obeyed,
for the mind of aegis-bearing Zeus easily persuaded him. The two handsome children of Zeus hurried
Hymn 4 Hermes further 150
to sandy Pylos, coming to the banks of Alpheos. They walked to the meadow and arching cave
where the cattle had been tended that night. 400 While Hermes entered the stone cave and drove the strong head of cattle into the light,
the son of Leto, glancing aside, saw the cowhides on the steep rock, and quickly asked Hermes: “How could you, newborn and feeble,
cut the throats of two cows, Wily One? I marvel at your future strength: there’s no need for you to keep growing, Kyllenian son of Maia.”
Apollo twisted willow withies to bind him, but instead they sprouted up under Hermes’ feet, 410 winding together from that spot as if grafted,
Hymn 4 Hermes further 155
growing quickly over all the cattle in the field- by the will of Hermes the Thief. Apollo watched in amazement. But the mighty Slayer of Argos
glanced aside at the ground, eager to hide the gleam of fire. He softened the skillful Archer son of glorious Leto quite easily, as he wished,
although Apollo was stronger. Taking the lyre in his left hand, he tried each strain with the pick, her sound haunting under his touch. Phoibos Apollo 420
laughed, rejoicing; the lovely sound of the divine music went through his heart and sweet longing took his soul as he listened. Playing the lyre beautifully,
Characters and arcs
Hermes matters as newborn thief. Track speech, gift, shame, and seat.
Apollo matters as wronged brother. Track speech, gift, shame, and seat.
Zeus matters as laughing judge. Track speech, gift, shame, and seat.
Maia matters as cave mother. Track speech, gift, shame, and seat.
lyre matters as invented gift. Track speech, gift, shame, and seat.
cattle matters as stolen herd. Track speech, gift, shame, and seat.
Themes, motifs, style
Theme: birth craft. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: cattle theft. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: lyre. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Zeus laugh. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: settlement. Rayor's English keeps hexameter narrative speakable for performance and class.
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Meaning
This hymn advances a god's honour under Zeus. Tokens (pomegranate, lyre, Delos, cattle, desire) outlive speeches.
Hymns 5 and 6 to Aphrodite
Hymn 5 Aphrodite: spine
Hymn 5 Aphrodite: chain
Hymn 5 Aphrodite: hub
Central claim
The long Aphrodite hymn disciplines the goddess of desire by making her feel mortal love's cost; the short hymn restores pure praise. Performance and cult honour share one plot under Zeus.
Zeus plot: desire turns. The hymn moves one notch of honour or cost.
Hymn 5 Aphrodite: beat 0
Ida approach: disguise. The hymn moves one notch of honour or cost.
Union: Anchises. The hymn moves one notch of honour or cost.
Hymn 5 Aphrodite: beat 2
Reveal: shame. The hymn moves one notch of honour or cost.
Warnings: Dawn Tithonos. The hymn moves one notch of honour or cost.
Hymn 5 Aphrodite: beat 4
Aeneas: secrecy. The hymn moves one notch of honour or cost.
Hymn 6: sea birth praise. The hymn moves one notch of honour or cost.
Hymn 5 Aphrodite: beat 6
Second pass
- HYMN TO APHRODITE Muse, tell me the deeds of golden Aphrodite, the Cyprian, who arouses sweet desire in gods, tames the tribes of deathbound people,
the birds swooping from heaven and all creatures that land and sea nourish so well. The work of richly crowned Cytheria affects everyone,
except the three goddesses she cannot persuade or fool. The work of golden Aphrodite does not please Athena,
Hymn 5 Aphrodite: band 1
the owl-eyed daughter of Zeus who bears the aegis. Athena rejoices in warfare and the work of Ares:
combat, struggles, and glorious deeds. She first taught earthbound craftsmen to make carriages and chariots inlaid with bronze.
She also taught glorious work in the house to young women, instilling skill in each one. Smile-loving Aphrodite cannot tame Artemis with passion,
not the one with baying hounds and the golden distaff. Artemis delights in bows, hunting beasts in the mountains,
in lyres, dances, and the shrill songs of women, in shady groves and the cities of righteous men. The work of Aphrodite does not please Hestia,
the modest first born of conniving Kronos (last born, too, through the plan of Zeus). Wooed by Poseidon and Apollo, she was unwilling
Hymn 5 Aphrodite: band 3
and hard, refusing their offers of marriage. Touching the head of Zeus who bears the aegis, she swore a great oath, since then fulfilled,
to remain forever virgin, divine among goddesses. Instead of marriage, Father Zeus gave her a prize:
Hestia rests at the hearth, the highest honor. All people revere her in every temple,
Hestia, the most august of the gods. Aphrodite cannot persuade or deceive these three goddesses, but no others have ever escaped her-
none of the blessed gods nor mortal folk. She even distracted Zeus, who delights in thunder, the greatest god allotted the greatest honor,
deceiving even his strong mind whenever she wished, easily mating him with mortal women. He would utterly forget Hera, sister and wife,
Hymn 5 Aphrodite: band 5
the most beautiful of immortal goddesses, the sacred goddess whom conniving Kronos and mother Rhea bore. Zeus, wise in eternal plans,
made her his honored wife, careful, and wise, too. Casting sweet desire into Aphrodite’s own heart, Zeus made her long for a human man, so that
even smile-loving Aphrodite herself could not keep out of a mortal man’s bed. Then she could not tell- boasting among all the gods, laughing sweetly-
how she made the gods mate with mortal women (who bore mortal sons to immortal fathers)
and how she mated the goddesses with mortal men. Zeus cast sweet desire in her heart for Anchises- his body like a god’s-who often tended cattle
in the high mountains of Ida, rich in springs. When smile-loving Aphrodite saw him,
Hymn 5 Aphrodite: band 7
she wanted him: desire seized her beyond all measure. She went to Cyprus, entering her fragrant temple at Paphos, with its sacred precinct and altar;
she went in and closed the shining doors. The Graces bathed and anointed her with oil divine, as on the gods who live forever,
pleasant ambrosia, sweet scented for her. Covering her body with fine clothes adorned with gold, smile-loving Aphrodite left fragrant Cyprus in a hurry for Troy-
high in the clouds, she quickly made her way. She landed on the mother of wild animals, Mount Ida,
rich in springs, and headed toward the steading. Gray wolves wagging their tails, lions eyes flashing,
bears and swift leopards hungry for deer, thronged about her. Seeing them delighted her heart and spirit, and she cast desire in their breasts. Instantly,
Hymn 5 Aphrodite: band 9
they lay down together by twos in their shady lairs. Then she came upon the sturdy shelters and found the hero Anchises alone-
the man whose beauty came from the gods. The other herders had followed the cattle to grassy pastures. Left alone at the steading,
he strolled about, playing piercing notes on his lyre. Aphrodite, daughter of Zeus, stood before him like an untouched virgin in form and stature,
so he would not be afraid when he set eyes on her. Seeing her, Anchises wondered, amazed
at her beauty, her stature, her shining clothes! Her robe blazed past the radiance of fire, spiral bracelets and earrings shining like flower buds,
with brilliant necklaces gracing her soft throat, like the moon shining on her soft breast,
Hymn 5 Aphrodite: band 11
beautifully inlaid in gold, a marvel. Passion seized Anchises, face to face he spoke to her: “Hail, Queen, whatever blessed one has reached this house,
whether you are Artemis, Leto, or golden Aphrodite, noble Themis or owl-eyed Athena or perhaps one of the Graces come here,
companions of all the gods and immortal, or one of the nymphs who haunt the fair forests, or nymphs who live here on this lovely mountain
in river springs and grassy meadows. I will build you an altar on a hilltop visible 100 from all around and make a holy sacrifice
to you every season. Gracious Goddess, make me a man eminent among Trojans, give me a flourishing son, let me live long and well, seeing the light of the sun,
happy among my people, to the threshold of old age.” Aphrodite, daughter of Zeus, replied: “Anchises, most glorious of earthborn men,
Hymn 5 Aphrodite: band 13
I am no goddess. Why compare me to the gods? I am mortal, truly born from a human mother. 110 Otreus is my father-have you heard of him?-
a famous king, who rules all of Phrygia. And I know your language clearly as my own since my mother handed me to a Trojan nurse,
who raised me from childhood in our great hall. That is why I speak your language so well. Just now Hermes stole me from a dance
to Artemis of the golden distaff and baying hounds: as we danced, nymphs and budding girls richly wooed, the crowd in a circle around us, 120
the gold-wand Slayer of Argos carried me off. My feet never seemed to touch the life-giving earth as he flew me over many plowed fields,
over many lands where flesh-eating beasts roam, past shady dens, through wild, untouched country. I would be called Anchises’ wedded wife
Hymn 5 Aphrodite: band 15
and bedmate, declared Hermes, and bear you glorious children. Strong Hermes said this,
then flew away, rejoining the race of immortals. But I came to you because a strong force overcame me. 130 By Zeus, I beseech you, by your noble parents-
for lowborn ones could not have had such a son!- take me, unwed and untried in love, show me to your father, to your careful, wise mother,
to your brothers born from the same parents. I will be a suitable, not shameful, daughter-in-law. Send a messenger quickly to the Phrygians
to tell my father and my worrying mother, too. They will send you gold in plenty and woven clothes-
accept the large, glorious dowry-payment. 140 After that, make a wedding feast for the marriage longed for and honored by men and immortal gods.”
Hymn 5 Aphrodite: band 17
So saying, the goddess cast sweet desire in his heart. Passion seized Anchises. He cried out: “If you truly are mortal and a human woman bore you,
if Otreus is your father’s famous name, as you declare, and you come here by the will of the immortal messenger Hermes, and my wife you shall be forever more,
then none of the gods or mortal men here will hold me back from mingling in love with you 150 this moment. Not even if the skillful archer, Apollo himself,
were to shoot arrows of grief from his silver bow. Once I have mounted your bed, woman like a goddess, then I would be willing to enter the house of Hades.”
So he said, and took her hand. Smile-loving Aphrodite turned around, casting down her lovely eyes, moving slowly to the bed richly spread
with soft cloaks ready for the master. Over the bed lay the skins of bears and deep-roaring lions,
Hymn 5 Aphrodite: band 19
beasts he had slain in the high mountains. 160 When they climbed into the well-crafted bed, first he removed all her shining jewelry: the brooches,
spiral bracelets, flower-bud earrings, and necklaces. Anchises loosened her belt, slipped off her splendid clothes,
setting them down on a silver-studded chair. By the will of the gods and fate, he lay down with an immortal
goddess-a mortal man uncertain of the truth. At dusk, when herdsmen bring cows and fat sheep back to the fold from the blooming pastures,
Aphrodite poured sweet sleep over Anchises, 170 pleasant sleep, and dressed herself in her lovely robes. Clad in all her finery, the most heavenly goddess
stood up in the shelter. Her head nearly touched the strong roof beam; richly crowned Cytheria’s
Hymn 5 Aphrodite: band 21
cheeks shone with her immortal beauty. She roused Anchises from sleep, calling his name:
“Son of Dardanos, wake up! Why sleep so soundly? Tell me whether I now seem as I was when first you laid eyes on me?”
He heard her instantly out from his sleep. 180 When he saw the throat and lovely eyes of Aphrodite,
he was frightened and turned his eyes from her. Again he covered his handsome face with a cloak and his words flew out in prayer and pleading:
“When my eyes first saw you, goddess, right away I knew you were divine, but you did not tell the truth. Now I beg you, by Zeus who bears the aegis,
do not let me live among men alive, but unmanned. Take pity! A man’s life ceases to flourish if he lies in bed with an immortal goddess.” 190
Hymn 5 Aphrodite: band 23
Then Aphrodite, daughter of Zeus, answered him: “Anchises, most honored of mortal men,
take courage; drive fear from your mind. You will suffer no harm, not from me or any
of the Blessed Ones, for you are dear to the gods. No, you will have a son who will rule among Trojans
and children will be descended from his children forever. Aeneas will be his name because a terrible grief
possesses me since I fell into the bed of a mortal man. Of all mortal men, those in your family always 200
have been close to the gods in beauty and stature. Wise Zeus seized Ganymede for his blond beauty. Now he lives among the immortal gods
Hymn 5 Aphrodite: band 25
and pours wine for them in Zeus’ house- amazing, a man honored by all the immortals,
drawing the red nectar from a gold mixing bowl. But unrelenting sorrow held father Tros: he did not know
where the divine whirlwind had taken his dear son. Every day, he grieved without end for his son. At last, Zeus had pity on him: in payment for his son 210
he gave him spirited horses, the kind the gods ride. He gave Tros the horses to keep as a gift. Hermes the Guide told him Zeus’ command:
Ganymede would live forever, unaging, like the gods. When Tros heard this message from Zeus, he ceased grieving and his spirit rejoiced;
he joyfully rode the wind-footed horses. And Eos on her golden throne stole Tithonos,
Hymn 5 Aphrodite: band 27
a man like the gods, also from your own family. Dawn begged the storm-cloud son of Kronos 220
that Tithonos be immortal and live forever. Zeus nodded to her, fulfilling her wish. But foolish Dawn did not think to ask
him for youth, to erase deadly old age. So as long as beautiful youth held him, he lived by Ocean’s stream at earth’s edge
delighting in early-born Dawn on her golden throne. But when the gray hairs first rained down on his handsome head and noble chin,
then Dawn completely avoided his bed. 230 She tended him with bread and ambrosia,
keeping him in her halls and giving him fine clothes. But when hateful old age weighed him down and he could not move his limbs or raise up,
Hymn 5 Aphrodite: band 29
this plan appeared best in her heart: she set him in a chamber and closed the shining doors. His voice flows on without ceasing
and the strength in his supple limbs is gone. No, I would not choose such immortality for you,
to be immortal, to live like that forever. 240 If you could live as my husband, keeping the form and beauty you now have,
then grief would not cloud my crowded mind. But soon distressing old age will shroud you, without pity, since it happens to all men,
a deadly trouble that the gods themselves hate. As for me, I will be greatly shamed forever
among the immortal gods because of you. When all the gods mingled with human women, my talk and plans always frightened them- 250
Hymn 5 Aphrodite: band 31
my will always conquered them all. Now my mouth can no longer speak out on such things among the gods, once I so foolishly
did a terrible, unspeakable thing-my mind went astray: I put a child under my belt, bedding down with a man. When the sun’s light first sees the child,
the deep-breasted mountain nymphs will nurse him. They live on this holy mountain and are neither mortal nor immortal:
they live a long time and eat immortal food, 260 and dance lovely dances among the gods. The Sileni and Hermes, the good Guide,
mingle with them in love, deep inside caves. As the nymphs are born, pines and high-crowned oaks grow with them on the man-nourishing earth,
fair trees flourishing in the high mountains. They stand tall and men call them the grove
Hymn 5 Aphrodite: band 33
of the gods-no mortals fell them with axes. But when their destined death has come, first the lovely trees wither on the earth, 270
the bark dies and the branches fall away; then the souls of the nymphs leave the sun’s light.
These nymphs will raise my son themselves. When precious youth first touches him,
they will bring your child here just to show you. Now I will recount the things on my mind.
In his fifth year, I will bring back your son. When your eyes first see this flourishing child,
you will rejoice at the sight-he will be godlike. You will bring him right back to windy Troy 280 and if any mortal man asks you
Hymn 5 Aphrodite: band 35
what mother conceived your dear son, you will say to him-remember what I command you- say that a blossoming nymph living
on this wooded mountain bore him. But if you should boast, foolishly saying you mingled in love with richly crowned Cytheria,
angry Zeus will strike you with a smoldering thunderbolt. You have been warned. Knowing that, keep your silence and do not name me: fear the wrath of the gods.”
290 When she finished, she flew off to windy heaven. Hail, Goddess, ruler of well-built Cyprus!
I began with you and will turn to the rest of the hymn. # 6. HYMN TO APHRODITE 6. HYMN TO APHRODITE I will sing to lovely Aphrodite, revered goddess
crowned in gold, who protects the citadels of Cyprus, island where the misty gales of Zephyros cradled her in soft foam over the waves
Hymn 5 Aphrodite: band 37
of the roaring sea. The Horai, wearing gold tiaras, gladly welcomed her, dressed her in divine robes, placed on her immortal head a finely crafted crown
of lovely gold, set blossoms of mountain-copper and costly gold in her pierced ears, and adorned her soft throat and silvery breast
with gold necklaces like those that grace the Horai wearing gold tiaras when they fly
to the gods’ dance and their father’s house. When they had fully adorned her body, they led her to the gods, who welcomed the sight
and offered her their hands. Each god prayed to take her home as his wedded wife, so amazed
were they at the beauty of violet-crowned Cytheria. Farewell, sweet gentle Goddess with dancing eyes: grant me victory in this contest, ready my song-
Hymn 5 Aphrodite: band 39
but I will remember you and the rest of the song.
Further source depth
a famous king, who rules all of Phrygia. And I know your language clearly as my own since my mother handed me to a Trojan nurse,
Hymn 5 Aphrodite further 40
who raised me from childhood in our great hall. That is why I speak your language so well. Just now Hermes stole me from a dance
to Artemis of the golden distaff and baying hounds: as we danced, nymphs and budding girls richly wooed, the crowd in a circle around us, 120
the gold-wand Slayer of Argos carried me off. My feet never seemed to touch the life-giving earth as he flew me over many plowed fields,
over many lands where flesh-eating beasts roam, past shady dens, through wild, untouched country. I would be called Anchises’ wedded wife
and bedmate, declared Hermes, and bear you glorious children. Strong Hermes said this,
Hymn 5 Aphrodite further 45
then flew away, rejoining the race of immortals. But I came to you because a strong force overcame me. 130 By Zeus, I beseech you, by your noble parents-
for lowborn ones could not have had such a son!- take me, unwed and untried in love, show me to your father, to your careful, wise mother,
to your brothers born from the same parents. I will be a suitable, not shameful, daughter-in-law. Send a messenger quickly to the Phrygians
to tell my father and my worrying mother, too. They will send you gold in plenty and woven clothes-
accept the large, glorious dowry-payment. 140 After that, make a wedding feast for the marriage longed for and honored by men and immortal gods.”
Hymn 5 Aphrodite further 50
So saying, the goddess cast sweet desire in his heart. Passion seized Anchises. He cried out: “If you truly are mortal and a human woman bore you,
if Otreus is your father’s famous name, as you declare, and you come here by the will of the immortal messenger Hermes, and my wife you shall be forever more,
then none of the gods or mortal men here will hold me back from mingling in love with you 150 this moment. Not even if the skillful archer, Apollo himself,
were to shoot arrows of grief from his silver bow. Once I have mounted your bed, woman like a goddess, then I would be willing to enter the house of Hades.”
So he said, and took her hand. Smile-loving Aphrodite turned around, casting down her lovely eyes, moving slowly to the bed richly spread
Hymn 5 Aphrodite further 55
with soft cloaks ready for the master. Over the bed lay the skins of bears and deep-roaring lions,
beasts he had slain in the high mountains. 160 When they climbed into the well-crafted bed, first he removed all her shining jewelry: the brooches,
spiral bracelets, flower-bud earrings, and necklaces. Anchises loosened her belt, slipped off her splendid clothes,
setting them down on a silver-studded chair. By the will of the gods and fate, he lay down with an immortal
goddess-a mortal man uncertain of the truth. At dusk, when herdsmen bring cows and fat sheep back to the fold from the blooming pastures,
Hymn 5 Aphrodite further 60
Aphrodite poured sweet sleep over Anchises, 170 pleasant sleep, and dressed herself in her lovely robes. Clad in all her finery, the most heavenly goddess
stood up in the shelter. Her head nearly touched the strong roof beam; richly crowned Cytheria’s
cheeks shone with her immortal beauty. She roused Anchises from sleep, calling his name:
“Son of Dardanos, wake up! Why sleep so soundly? Tell me whether I now seem as I was when first you laid eyes on me?”
He heard her instantly out from his sleep. 180 When he saw the throat and lovely eyes of Aphrodite,
Hymn 5 Aphrodite further 65
he was frightened and turned his eyes from her. Again he covered his handsome face with a cloak and his words flew out in prayer and pleading:
“When my eyes first saw you, goddess, right away I knew you were divine, but you did not tell the truth. Now I beg you, by Zeus who bears the aegis,
do not let me live among men alive, but unmanned. Take pity! A man’s life ceases to flourish if he lies in bed with an immortal goddess.” 190
Then Aphrodite, daughter of Zeus, answered him: “Anchises, most honored of mortal men,
take courage; drive fear from your mind. You will suffer no harm, not from me or any
Hymn 5 Aphrodite further 70
of the Blessed Ones, for you are dear to the gods. No, you will have a son who will rule among Trojans
and children will be descended from his children forever. Aeneas will be his name because a terrible grief
possesses me since I fell into the bed of a mortal man. Of all mortal men, those in your family always 200
have been close to the gods in beauty and stature. Wise Zeus seized Ganymede for his blond beauty. Now he lives among the immortal gods
and pours wine for them in Zeus’ house- amazing, a man honored by all the immortals,
Hymn 5 Aphrodite further 75
drawing the red nectar from a gold mixing bowl. But unrelenting sorrow held father Tros: he did not know
where the divine whirlwind had taken his dear son. Every day, he grieved without end for his son. At last, Zeus had pity on him: in payment for his son 210
he gave him spirited horses, the kind the gods ride. He gave Tros the horses to keep as a gift. Hermes the Guide told him Zeus’ command:
Ganymede would live forever, unaging, like the gods. When Tros heard this message from Zeus, he ceased grieving and his spirit rejoiced;
he joyfully rode the wind-footed horses. And Eos on her golden throne stole Tithonos,
Hymn 5 Aphrodite further 80
a man like the gods, also from your own family. Dawn begged the storm-cloud son of Kronos 220
that Tithonos be immortal and live forever. Zeus nodded to her, fulfilling her wish. But foolish Dawn did not think to ask
him for youth, to erase deadly old age. So as long as beautiful youth held him, he lived by Ocean’s stream at earth’s edge
delighting in early-born Dawn on her golden throne. But when the gray hairs first rained down on his handsome head and noble chin,
then Dawn completely avoided his bed. 230 She tended him with bread and ambrosia,
Hymn 5 Aphrodite further 85
keeping him in her halls and giving him fine clothes. But when hateful old age weighed him down and he could not move his limbs or raise up,
this plan appeared best in her heart: she set him in a chamber and closed the shining doors. His voice flows on without ceasing
and the strength in his supple limbs is gone. No, I would not choose such immortality for you,
to be immortal, to live like that forever. 240 If you could live as my husband, keeping the form and beauty you now have,
then grief would not cloud my crowded mind. But soon distressing old age will shroud you, without pity, since it happens to all men,
Hymn 5 Aphrodite further 90
a deadly trouble that the gods themselves hate. As for me, I will be greatly shamed forever
among the immortal gods because of you. When all the gods mingled with human women, my talk and plans always frightened them- 250
my will always conquered them all. Now my mouth can no longer speak out on such things among the gods, once I so foolishly
did a terrible, unspeakable thing-my mind went astray: I put a child under my belt, bedding down with a man. When the sun’s light first sees the child,
the deep-breasted mountain nymphs will nurse him. They live on this holy mountain and are neither mortal nor immortal:
Hymn 5 Aphrodite further 95
they live a long time and eat immortal food, 260 and dance lovely dances among the gods. The Sileni and Hermes, the good Guide,
mingle with them in love, deep inside caves. As the nymphs are born, pines and high-crowned oaks grow with them on the man-nourishing earth,
fair trees flourishing in the high mountains. They stand tall and men call them the grove
of the gods-no mortals fell them with axes. But when their destined death has come, first the lovely trees wither on the earth, 270
the bark dies and the branches fall away; then the souls of the nymphs leave the sun’s light.
Hymn 5 Aphrodite further 100
These nymphs will raise my son themselves. When precious youth first touches him,
they will bring your child here just to show you. Now I will recount the things on my mind.
In his fifth year, I will bring back your son. When your eyes first see this flourishing child,
you will rejoice at the sight-he will be godlike. You will bring him right back to windy Troy 280 and if any mortal man asks you
what mother conceived your dear son, you will say to him-remember what I command you- say that a blossoming nymph living
Hymn 5 Aphrodite further 105
on this wooded mountain bore him. But if you should boast, foolishly saying you mingled in love with richly crowned Cytheria,
angry Zeus will strike you with a smoldering thunderbolt. You have been warned. Knowing that, keep your silence and do not name me: fear the wrath of the gods.”
290 When she finished, she flew off to windy heaven. Hail, Goddess, ruler of well-built Cyprus!
I began with you and will turn to the rest of the hymn. # 6. HYMN TO APHRODITE 6. HYMN TO APHRODITE I will sing to lovely Aphrodite, revered goddess
crowned in gold, who protects the citadels of Cyprus, island where the misty gales of Zephyros cradled her in soft foam over the waves
Hymn 5 Aphrodite further 110
of the roaring sea. The Horai, wearing gold tiaras, gladly welcomed her, dressed her in divine robes, placed on her immortal head a finely crafted crown
of lovely gold, set blossoms of mountain-copper and costly gold in her pierced ears, and adorned her soft throat and silvery breast
with gold necklaces like those that grace the Horai wearing gold tiaras when they fly
to the gods’ dance and their father’s house. When they had fully adorned her body, they led her to the gods, who welcomed the sight
and offered her their hands. Each god prayed to take her home as his wedded wife, so amazed
Hymn 5 Aphrodite further 115
were they at the beauty of violet-crowned Cytheria. Farewell, sweet gentle Goddess with dancing eyes: grant me victory in this contest, ready my song-
but I will remember you and the rest of the song.
Characters and arcs
Aphrodite matters as disciplined goddess. Track speech, gift, shame, and seat.
Anchises matters as Trojan herdsman. Track speech, gift, shame, and seat.
Aeneas matters as secret son. Track speech, gift, shame, and seat.
Zeus matters as plotter. Track speech, gift, shame, and seat.
Dawn matters as warning pair. Track speech, gift, shame, and seat.
Tithonos matters as aged beloved. Track speech, gift, shame, and seat.
Themes, motifs, style
Theme: desire reversed. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Anchises. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: Aeneas secrecy. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: aging. Rayor's English keeps hexameter narrative speakable for performance and class.
Theme: short praise. Rayor's English keeps hexameter narrative speakable for performance and class.
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Meaning
This hymn advances a god's honour under Zeus. Tokens (pomegranate, lyre, Delos, cattle, desire) outlive speeches.
Short Hymns (KEEP)
Short KEEP spine
Cult attributes
Form hub
Hymn 8 asks bloodthirsty Ares for courage to stay inside gentle laws of peace.
7 hymn to dionysos
7 hymn to dionysos: map
- HYMN TO DIONYSOS I will remember Dionysos, son of glorious Semele, as he appeared on a jutting headland near the shore
of the barren sea. He seemed a young man in first bloom, with his lovely dark hair flowing,
a purple cloak around his strong shoulders. Tyrsenian pirates aboard a large ship approached quickly on the wine-dark sea,
7 hymn to dionysos band 2
led by an evil destiny. Seeing him, they nodded to one another and leapt out at once, seized him
and put him aboard their ship, their hearts rejoicing. They thought he was a son of Zeus-raised kings,
so they wanted to bind him with harsh ropes. But the ties could not hold him; the willow withies fell away from his hands and feet. Dionysos sat,
7 hymn to dionysos band 5
his dark eyes smiling. The helmsman understood immediately and called to his companions:
“Mates, who is this strong god you’ve nabbed? Our well-built ship cannot carry him. He’s either Zeus or Silverbow Apollo
or Poseidon. He does not look like mortal men, but far more like the Olympian gods.
7 hymn to dionysos band 8
Come, let’s set him free on dry land right away. Don’t lay a hand on him or his anger might stir up savage winds and a full-blown tempest.”
Then the captain rebuked him with rough words: “Mate, see the fair wind? Now, take up the riggings
and hoist the ship’s sail. The men will see to him. I expect he’ll reach Egypt or Cyprus or the Hyperboreans, maybe farther-in the end
7 hymn to dionysos band 11
he’ll tell us his friends and all their wealth, and his brothers, too, since a god cast him to us.” With that, he hoisted the mast and set sail;
wind blew in midsail, pulling the rigging tight. Marvelous deeds were soon revealed to the pirates. First, wine, sweet to drink and smell, flowed through
the black ship and a heavenly fragrance arose. The sight seized them all with amazement. Then vines stretched all over atop the sail,
7 hymn to dionysos band 14
hanging down with thick clusters of grapes. Dark ivy twisted around the mast blooming with flowers, rich berries sprang out
and the oarlocks wore garlands. Seeing all that, the crew told the helmsman to head landward. But in the ship’s bow, the god appeared to them
as a terrible lion and gave a mighty roar. Performing wonders midship, he made a shaggy bear rear up, raging, while the lion glared ferociously
7 hymn to dionysos band 17
from the high deck. The men fled in fear to the stern, where they clustered panic-stricken around the sober-minded helmsman. With a sudden leap,
the lion seized the captain. Then all the rest, fleeing their doom, dove into the glistening sea and became dolphins. But the merciful god
stopped the helmsman and granted him true fortune: “Take courage, good man-you who have pleased my heart. I am thundering Dionysos, whom my mother Semele,
7 hymn to dionysos band 20
daughter of Kadmos, bore, mingling in love with Zeus.” Hail, child of fair Semele! There is no way
to forget you and still compose sweet song.
7 hymn to dionysos: short form keeps attribute and prayer portable under Zeus's order.
8 hymn to ares
8 hymn to ares: map
- HYMN TO ARES Mighty Ares, gold-helmed chariot master, shield-bearer, bronze-armored city guard, strong-willed,
strong-armed, untiring spear strength, defense of Olympos, father of Victory in war, aid to Themis, tyrant to enemies, leader of righteous men,
wielding manhood’s scepter, your red orb whirling among the seven paths of the planets through the ether
8 hymn to ares band 2
where your fiery stallions bear you above the third orbit. Hear me, ally of mortals, you grant blossoming youth, blazing down a soft flame into my life
and warrior strength that I might drive bitter wickedness from my head, my mind bending my soul’s deceitful impulse,
to restrain my heart’s sharp temper provoking me to enter bone-cold battle. But you, Blessed One, give me courage to stay within the gentle laws of peace,
8 hymn to ares band 5
fleeing enemy battle and violent death.
8 hymn to ares: short form keeps attribute and prayer portable under Zeus's order.
9 hymn to artemis
9 hymn to artemis: map
- HYMN TO ARTEMIS Sing, Muse, to Artemis, sister of the Far-shooter, virgin who rains arrows, raised with Apollo.
After watering her horses along the rushes of Meles, she swiftly drives her golden chariot through Smyrna to vine-laden Klaros where Silverbow Apollo,
who strikes from afar, awaits the one who rains arrows. You and all the goddesses, rejoice in my song: I began first to sing about you and yours-
9 hymn to artemis band 2
having begun with you, I will turn to the rest of the hymn.
9 hymn to artemis: short form keeps attribute and prayer portable under Zeus's order.
15 hymn to lion hearted herakles
15 hymn to lion hearted herakles: map
- HYMN TO LION-HEARTED HERAKLES I will sing of Herakles, son of Zeus, the best man on earth by far, born in Thebes, city of fine dances,
after Alkmene mingled with the storm-cloud son of Kronos. Herakles used to wander over the unmeasured earth and sea at the bidding of King Eurystheus;
he performed many daring deeds and endured much. Now in the lovely seat of snowy Olympos
15 hymn to lion hearted herakles band 2
he lives in pleasure with his slender-ankled Hebe. Hail, Lord, son of Zeus! Grant me excellence and wealth.
15 hymn to lion hearted herakles: short form keeps attribute and prayer portable under Zeus's order.
18 hymn to hermes
18 hymn to hermes: map
- HYMN TO HERMES I sing to Kyllenian Hermes, Slayer of Argos, Guardian of Mount Kyllene and Arcadia, rich in flocks,
Luck-bringing messenger of gods, born when Maia, daughter of Atlas, joined in love with Zeus. Shunning the crowd of blessed gods, the revered goddess
lived in the shady cave where the son of Kronos used to lie with her in the dark of night (while sweet sleep held white-armed Hera)
18 hymn to hermes band 2
unnoticed by immortal gods and mortal men. Son of Zeus and Maia, rejoice in this:
I began with you and will turn to the rest of the hymn. Hail, Hermes, guide who gives joy and good fortune!
18 hymn to hermes: short form keeps attribute and prayer portable under Zeus's order.
19 hymn to pan
19 hymn to pan: map
- HYMN TO PAN Tell me, Muse, about Hermes’ dear son, his goat-footed, two-horned, noise-loving son
who roams wooded meadows with dancing nymphs. The goddesses scamper up cliffs of sheer rock invoking Pan, shepherd god with wild, shining hair,
whose domain includes all snowy crests, mountain heights, and rocky paths. He wanders through thick underbrush now drawn to gentle streams,
19 hymn to pan band 2
now hoofing about steep boulders, climbing to the highest peak to watch for sheep. Often he dashes across white mountain ridges;
often he tramps keen-eyed across the foothills, slaying beasts. Only back from the hunt at evening,
he whistles, playing a sweet tune on his pipes. No bird, not even a nightingale among the leaves pouring forth a lament of honey-tongued song
19 hymn to pan band 5
during spring bloom, could surpass his melodies. The mountain nymphs join him, their voices high, their feet a blur as they dance in a deep spring,
an echo resounding about the mountain top. Then the god slips to the center, shaping the dance with feet flashing, wearing a tawny lynx pelt
on his back. The piercing song thrills him in the soft meadow where sweet-smelling crocus
19 hymn to pan band 8
and hyacinth bloom, mingling with grasses. They celebrate the blessed gods and high Olympos and sing about preeminent Hermes the Luck-bringer:
how he is the swift messenger for all the gods; how he alighted in Arcadia, motherland of many
springs and flocks, and Kyllene, his sacred mountain. There, though a god, he served the mortal Dryops, tending curly-fleeced sheep, when wet desire bloomed
19 hymn to pan band 11
to mingle in love with the man’s fair-haired daughter. From that, he won a flourishing marriage. In her house Dryope bore Hermes a dear son, marvelous to behold:
goat-footed, horned, full of noise and sweet laughter. Jumping up, his mother fled in fear and left the child
when she saw his rough, full-bearded face. Luck-bringing Hermes quickly took him in his arms,
19 hymn to pan band 14
welcoming him, and the god’s mind filled with joy. Wrapping his child in the thick fur of mountain hare,
he flew swiftly to the home of the immortals. Hermes set him down by Zeus and the other gods, and revealed his son. All the gods were delighted
in their hearts, but especially Bacchic Dionysos. “Pan” they named him, because he delighted them “all.” And so farewell, Lord, as I appease you with song-
19 hymn to pan band 17
but I will remember you and the rest of the song.
19 hymn to pan: short form keeps attribute and prayer portable under Zeus's order.
26 hymn to dionysos
26 hymn to dionysos: map
- HYMN TO DIONYSOS I sing of ivy-crowned Dionysos, the roaring god, radiant son of Zeus and glorious Semele. Lovely nymphs, receiving him from his lord father,
nursed him at their breasts and fostered him tenderly in Nysian valleys. He grew up in a fragrant cave,
by his father’s will, counted among the immortals. When the goddesses had raised him, a god celebrated in so many hymns, he roamed through forest haunts,
26 hymn to dionysos band 2
draped with ivy and laurel. The nymphs followed as he led the way: their loud cry filled the vast forest.
Rejoice, Dionysos, god of the plentiful grape! May we come again rejoicing to this season
and from that season on, through the revolving years.
26 hymn to dionysos band 5
26 hymn to dionysos: short form keeps attribute and prayer portable under Zeus's order.
27 hymn to artemis
27 hymn to artemis: map
- HYMN TO ARTEMIS I sing of Artemis, goddess with baying hounds and golden distaff, revered virgin, deer hunter
who rains arrows, sister of gold-bladed Apollo. Delighting in the hunt over shaded hill and windy heights, she draws her golden bow
and shoots deadly arrows. The ridges on the highest mountain tremble, animal cries echo horribly in the dense forest, the earth
27 hymn to artemis band 2
shakes and the fish-ridden sea. Stout-hearted, she whirls around, slaying the race of wild beasts. When the mistress of animals, who rains arrows,
is content and her mind pleased, she unstrings her well-made bow and visits the great house of her dear brother Phoibos Apollo in rich Delphi
to guide the Muses and Graces in lovely dance. There she hangs up her curved bow and arrows, and leads the way, her body gracefully adorned,
27 hymn to artemis band 5
beginning the dance. In divine voice, the goddesses sing how slender-ankled Leto bore children
far the best of all the gods in counsel and deeds. Farewell, children of Zeus and lovely-haired Leto-
but I will remember you all and the rest of the song.
27 hymn to artemis band 8
27 hymn to artemis: short form keeps attribute and prayer portable under Zeus's order.
28 hymn to athena
28 hymn to athena: map
- HYMN TO ATHENA I sing of the glorious goddess Pallas Athena, owl-eyed deity with crafty wisdom and steady heart,
revered virgin, stalwart guardian of the city, Tritogeneia. From his august head, cunning Zeus himself gave birth to her, born in warlike armor
of gleaming gold. Awe seized all the gods watching.
28 hymn to athena band 2
shaking her sharp spear. Great Olympos reeled violently beneath the might of her shining eyes, the earth let out an awful cry, and the deep shifted,
churning with purple waves. Suddenly the sea held still and the shining son of Hyperion halted his swift horses a long while until the maiden
Pallas Athena lifted the godlike armor from her divine shoulders, and wise Zeus rejoiced. Hail, child of aegis-bearing Zeus-
28 hymn to athena band 5
but I will remember you and the rest of the song.
28 hymn to athena: short form keeps attribute and prayer portable under Zeus's order.
29 hymn to hestia and hermes
29 hymn to hestia and hermes: map
- HYMN TO HESTIA AND HERMES Hestia, in the lofty homes of all immortal gods and humans who walk the ground, you won the eternal seat, the most ancient honor
with great rewards and respect. Mortals have no feasts without you-they begin by pouring
honey-sweet wine first and last to Hestia. Hermes, son of Zeus and Maia, Slayer of Argos, messenger of the blessed gods, whose golden wand grants good fortune,
29 hymn to hestia and hermes band 2
stay in these lovely homes together in friendship, in kindness help me, joining with revered and dear Hestia-as you two observe the good deeds
of earthbound folk, attend them in mind and body. Rejoice, daughter of Kronos and gold-wand Hermes-
but I will remember both of you and the rest of the song.
29 hymn to hestia and hermes band 5
29 hymn to hestia and hermes: short form keeps attribute and prayer portable under Zeus's order.
30 hymn to gaia
30 hymn to gaia: map
- HYMN TO GAIA I will sing to the mother of all, firmly rooted Gaia, the oldest deity, who feeds all the world’s life- whether on divine land, in the deep sea,
or flying about-all beings feed from your plenty. Fine children and rich harvests arise from you, O Queen; you alone give mortal folk a livelihood
or take it away. The one you graciously honor is truly blessed. For him all is abundant: his life-giving fields bear fruit, flocks thrive
30 hymn to gaia band 2
in his pastures, his house is full of good things. Such men rule with just laws cities of lovely women. Great good fortune and wealth follow them:
their sons rejoice with fresh-blooming cheer, and in flower-laden choruses their joyful daughters
play, skipping in the grass among soft blossoms. Happy those you honor, august Goddess, abundant spirit!
30 hymn to gaia band 5
Farewell, mother of the gods, wife of starry Ouranos. Gladly grant a welcome livelihood for my song-
but I will remember you and the rest of the song.
30 hymn to gaia: short form keeps attribute and prayer portable under Zeus's order.
31 hymn to helios
31 hymn to helios: map
- HYMN TO HELIOS Begin to sing, O Muse Kalliope, daughter of Zeus, about shining Helios, whom cow-eyed Euryphaessa
bore to the son of Gaia and starry Ouranos. When Hyperion married glorious Euryphaessa, his sister, she gave birth to beautiful children:
Eos with rosy arms, Selene with fine braids, and untiring Helios, resembling the immortals,
31 hymn to helios band 2
who shines on humans and gods, riding his horses. From his golden helmet, he sees with blazing eyes, brilliant light streams from him
and by his temples the glowing cheek-guards gracefully frame the soaring radiance of his face. The finely woven, luminous clothes on his skin
shimmer in the rush of winds. Stallions . . . [missing line] The wondrous god stays his gold-yoked chariot and horses
31 hymn to helios band 5
until he sends them through heaven toward Ocean. Hail, Lord, gladly grant me a welcome livelihood- I began with you and will glorify the race of fluent men,
demigods whose deeds the gods revealed to mortals.
31 hymn to helios: short form keeps attribute and prayer portable under Zeus's order.
32 hymn to selene
32 hymn to selene: map
- HYMN TO SELENE Sing next of the long-winged Moon, Muses skilled in song, melodious daughters of Kronion Zeus. From her immortal head in heaven
rays whirl over the earth, deep beauty rises in her brilliant light. The dusky air glows from her golden crown, moonbeams linger,
when shining Selene bathes her lovely skin in Ocean, slips into a dress of infinite radiance, yokes her luminous colts, necks arching high,
32 hymn to selene band 2
and swiftly drives the glossy horses on in evening at midmonth. Her great orbit full,
as she waxes, the rays from heaven grow brightest. Then she is a wonder and a sign for mortals. Once the son of Kronos mingled in love with her;
she conceived and bore Pandeia, a daughter lovely beyond measure among the deathless gods. Hail, gracious Queen, white-armed, radiant Selene,
32 hymn to selene band 5
goddess with lush braids: beginning with you, I will sing about the glory of demigods, whose deeds
the bards, servants of the Muses, celebrate in sweet song.
32 hymn to selene: short form keeps attribute and prayer portable under Zeus's order.
33 hymn to the dioskouroi
33 hymn to the dioskouroi: map
- HYMN TO THE DIOSKOUROI Dancing-eyed Muses, tell of the sons of Zeus, the Tyndarids, slender-ankled Leda’s glorious boys:
Kastor the horse tamer and blameless Polydeukes. After mingling in love with the storm-cloud son of Kronos, under the crown of Mount Taygetos, Leda bore twins,
saviors of earthbound folk and swift-sailing ships. When wintry gales rage over the relentless sea, sailors invoke the sons of mighty Zeus
33 hymn to the dioskouroi band 2
with prayer offerings of white lambs, as they climb to the high stern deck. Strong wind and wave of the sea force the ship under water. Suddenly the gods appear,
darting on whirring wings through the air. They stop the blasts of cruel winds at once and calm the waves of the white salty sea-
fair signs of their toil to the sailors. They rejoice and cease their painful labor. Hail, Tyndarids, riders of swift horses-
33 hymn to the dioskouroi band 5
but I will remember you and the rest of the song.
33 hymn to the dioskouroi: short form keeps attribute and prayer portable under Zeus's order.
Combined source sweep
- HYMN TO DIONYSOS I will remember Dionysos, son of glorious Semele, as he appeared on a jutting headland near the shore
of the barren sea. He seemed a young man in first bloom, with his lovely dark hair flowing,
a purple cloak around his strong shoulders. Tyrsenian pirates aboard a large ship approached quickly on the wine-dark sea,
led by an evil destiny. Seeing him, they nodded to one another and leapt out at once, seized him
and put him aboard their ship, their hearts rejoicing. They thought he was a son of Zeus-raised kings,
shorts mech 1
so they wanted to bind him with harsh ropes. But the ties could not hold him; the willow withies fell away from his hands and feet. Dionysos sat,
his dark eyes smiling. The helmsman understood immediately and called to his companions:
“Mates, who is this strong god you’ve nabbed? Our well-built ship cannot carry him. He’s either Zeus or Silverbow Apollo
or Poseidon. He does not look like mortal men, but far more like the Olympian gods.
Come, let’s set him free on dry land right away. Don’t lay a hand on him or his anger might stir up savage winds and a full-blown tempest.”
shorts mech 2
Then the captain rebuked him with rough words: “Mate, see the fair wind? Now, take up the riggings
and hoist the ship’s sail. The men will see to him. I expect he’ll reach Egypt or Cyprus or the Hyperboreans, maybe farther-in the end
he’ll tell us his friends and all their wealth, and his brothers, too, since a god cast him to us.” With that, he hoisted the mast and set sail;
wind blew in midsail, pulling the rigging tight. Marvelous deeds were soon revealed to the pirates. First, wine, sweet to drink and smell, flowed through
the black ship and a heavenly fragrance arose. The sight seized them all with amazement. Then vines stretched all over atop the sail,
shorts mech 3
hanging down with thick clusters of grapes. Dark ivy twisted around the mast blooming with flowers, rich berries sprang out
and the oarlocks wore garlands. Seeing all that, the crew told the helmsman to head landward. But in the ship’s bow, the god appeared to them
as a terrible lion and gave a mighty roar. Performing wonders midship, he made a shaggy bear rear up, raging, while the lion glared ferociously
from the high deck. The men fled in fear to the stern, where they clustered panic-stricken around the sober-minded helmsman. With a sudden leap,
the lion seized the captain. Then all the rest, fleeing their doom, dove into the glistening sea and became dolphins. But the merciful god
shorts mech 4
stopped the helmsman and granted him true fortune: “Take courage, good man-you who have pleased my heart. I am thundering Dionysos, whom my mother Semele,
daughter of Kadmos, bore, mingling in love with Zeus.” Hail, child of fair Semele! There is no way
to forget you and still compose sweet song. # 8. HYMN TO ARES 8. HYMN TO ARES Mighty Ares, gold-helmed chariot master,
shield-bearer, bronze-armored city guard, strong-willed, strong-armed, untiring spear strength, defense of Olympos, father of Victory in war, aid to Themis,
tyrant to enemies, leader of righteous men, wielding manhood’s scepter, your red orb whirling among the seven paths of the planets through the ether
shorts mech 5
where your fiery stallions bear you above the third orbit. Hear me, ally of mortals, you grant blossoming youth, blazing down a soft flame into my life
and warrior strength that I might drive bitter wickedness from my head, my mind bending my soul’s deceitful impulse,
to restrain my heart’s sharp temper provoking me to enter bone-cold battle. But you, Blessed One, give me courage to stay within the gentle laws of peace,
fleeing enemy battle and violent death. # 9. HYMN TO ARTEMIS 9. HYMN TO ARTEMIS Sing, Muse, to Artemis, sister of the Far-shooter,
virgin who rains arrows, raised with Apollo. After watering her horses along the rushes of Meles, she swiftly drives her golden chariot through Smyrna
shorts mech 6
to vine-laden Klaros where Silverbow Apollo, who strikes from afar, awaits the one who rains arrows. You and all the goddesses, rejoice in my song:
I began first to sing about you and yours- having begun with you, I will turn to the rest of the hymn. # 15. HYMN TO LION-HEARTED HERAKLES
- HYMN TO LION-HEARTED HERAKLES I will sing of Herakles, son of Zeus, the best man on earth by far, born in Thebes, city of fine dances,
after Alkmene mingled with the storm-cloud son of Kronos. Herakles used to wander over the unmeasured earth and sea at the bidding of King Eurystheus;
he performed many daring deeds and endured much. Now in the lovely seat of snowy Olympos
shorts mech 7
he lives in pleasure with his slender-ankled Hebe. Hail, Lord, son of Zeus! Grant me excellence and wealth. # 18. HYMN TO HERMES 18. HYMN TO HERMES
I sing to Kyllenian Hermes, Slayer of Argos, Guardian of Mount Kyllene and Arcadia, rich in flocks, Luck-bringing messenger of gods, born when Maia,
daughter of Atlas, joined in love with Zeus. Shunning the crowd of blessed gods, the revered goddess lived in the shady cave where the son of Kronos
used to lie with her in the dark of night (while sweet sleep held white-armed Hera)
unnoticed by immortal gods and mortal men. Son of Zeus and Maia, rejoice in this:
shorts mech 8
I began with you and will turn to the rest of the hymn. Hail, Hermes, guide who gives joy and good fortune! # 19. HYMN TO PAN 19. HYMN TO PAN
Tell me, Muse, about Hermes’ dear son, his goat-footed, two-horned, noise-loving son
who roams wooded meadows with dancing nymphs. The goddesses scamper up cliffs of sheer rock invoking Pan, shepherd god with wild, shining hair,
whose domain includes all snowy crests, mountain heights, and rocky paths. He wanders through thick underbrush now drawn to gentle streams,
now hoofing about steep boulders, climbing to the highest peak to watch for sheep. Often he dashes across white mountain ridges;
shorts mech 9
often he tramps keen-eyed across the foothills, slaying beasts. Only back from the hunt at evening,
he whistles, playing a sweet tune on his pipes. No bird, not even a nightingale among the leaves pouring forth a lament of honey-tongued song
during spring bloom, could surpass his melodies. The mountain nymphs join him, their voices high, their feet a blur as they dance in a deep spring,
an echo resounding about the mountain top. Then the god slips to the center, shaping the dance with feet flashing, wearing a tawny lynx pelt
on his back. The piercing song thrills him in the soft meadow where sweet-smelling crocus
shorts mech 10
and hyacinth bloom, mingling with grasses. They celebrate the blessed gods and high Olympos and sing about preeminent Hermes the Luck-bringer:
how he is the swift messenger for all the gods; how he alighted in Arcadia, motherland of many
springs and flocks, and Kyllene, his sacred mountain. There, though a god, he served the mortal Dryops, tending curly-fleeced sheep, when wet desire bloomed
to mingle in love with the man’s fair-haired daughter. From that, he won a flourishing marriage. In her house Dryope bore Hermes a dear son, marvelous to behold:
goat-footed, horned, full of noise and sweet laughter. Jumping up, his mother fled in fear and left the child
shorts mech 11
when she saw his rough, full-bearded face. Luck-bringing Hermes quickly took him in his arms,
welcoming him, and the god’s mind filled with joy. Wrapping his child in the thick fur of mountain hare,
he flew swiftly to the home of the immortals. Hermes set him down by Zeus and the other gods, and revealed his son. All the gods were delighted
in their hearts, but especially Bacchic Dionysos. “Pan” they named him, because he delighted them “all.” And so farewell, Lord, as I appease you with song-
but I will remember you and the rest of the song. # 26. HYMN TO DIONYSOS 26. HYMN TO DIONYSOS I sing of ivy-crowned Dionysos, the roaring god,
shorts mech 12
radiant son of Zeus and glorious Semele. Lovely nymphs, receiving him from his lord father, nursed him at their breasts and fostered him tenderly
in Nysian valleys. He grew up in a fragrant cave, by his father’s will, counted among the immortals. When the goddesses had raised him, a god celebrated
in so many hymns, he roamed through forest haunts, draped with ivy and laurel. The nymphs followed
as he led the way: their loud cry filled the vast forest. Rejoice, Dionysos, god of the plentiful grape! May we come again rejoicing to this season
and from that season on, through the revolving years. # 27. HYMN TO ARTEMIS 27. HYMN TO ARTEMIS I sing of Artemis, goddess with baying hounds
shorts mech 13
and golden distaff, revered virgin, deer hunter who rains arrows, sister of gold-bladed Apollo. Delighting in the hunt over shaded hill
and windy heights, she draws her golden bow and shoots deadly arrows. The ridges on the highest mountain tremble, animal cries
echo horribly in the dense forest, the earth shakes and the fish-ridden sea. Stout-hearted,
she whirls around, slaying the race of wild beasts. When the mistress of animals, who rains arrows, is content and her mind pleased, she unstrings
her well-made bow and visits the great house of her dear brother Phoibos Apollo in rich Delphi
shorts mech 14
to guide the Muses and Graces in lovely dance. There she hangs up her curved bow and arrows, and leads the way, her body gracefully adorned,
beginning the dance. In divine voice, the goddesses sing how slender-ankled Leto bore children
far the best of all the gods in counsel and deeds. Farewell, children of Zeus and lovely-haired Leto-
but I will remember you all and the rest of the song. # 28. HYMN TO ATHENA 28. HYMN TO ATHENA I sing of the glorious goddess Pallas Athena,
owl-eyed deity with crafty wisdom and steady heart, revered virgin, stalwart guardian of the city, Tritogeneia. From his august head, cunning Zeus
shorts mech 15
himself gave birth to her, born in warlike armor of gleaming gold. Awe seized all the gods watching. She sprang quickly from his immortal head
and stood in front of Zeus who bears the aegis, shaking her sharp spear. Great Olympos reeled violently beneath the might of her shining eyes,
the earth let out an awful cry, and the deep shifted, churning with purple waves. Suddenly the sea held still and the shining son of Hyperion halted
his swift horses a long while until the maiden Pallas Athena lifted the godlike armor
from her divine shoulders, and wise Zeus rejoiced. Hail, child of aegis-bearing Zeus-
shorts mech 16
but I will remember you and the rest of the song. # 29. HYMN TO HESTIA AND HERMES 29. HYMN TO HESTIA AND HERMES Hestia, in the lofty homes of all immortal gods
and humans who walk the ground, you won the eternal seat, the most ancient honor with great rewards and respect. Mortals have no
feasts without you-they begin by pouring honey-sweet wine first and last to Hestia. Hermes, son of Zeus and Maia, Slayer of Argos,
messenger of the blessed gods, whose golden wand grants good fortune, stay in these lovely homes together in friendship,
in kindness help me, joining with revered and dear Hestia-as you two observe the good deeds
shorts mech 17
of earthbound folk, attend them in mind and body. Rejoice, daughter of Kronos and gold-wand Hermes-
but I will remember both of you and the rest of the song. # 30. HYMN TO GAIA 30. HYMN TO GAIA I will sing to the mother of all, firmly rooted Gaia,
the oldest deity, who feeds all the world’s life- whether on divine land, in the deep sea,
or flying about-all beings feed from your plenty. Fine children and rich harvests arise from you, O Queen; you alone give mortal folk a livelihood
or take it away. The one you graciously honor is truly blessed. For him all is abundant: his life-giving fields bear fruit, flocks thrive
shorts mech 18
in his pastures, his house is full of good things. Such men rule with just laws cities of lovely women. Great good fortune and wealth follow them:
their sons rejoice with fresh-blooming cheer, and in flower-laden choruses their joyful daughters
play, skipping in the grass among soft blossoms. Happy those you honor, august Goddess, abundant spirit!
Farewell, mother of the gods, wife of starry Ouranos. Gladly grant a welcome livelihood for my song-
but I will remember you and the rest of the song. # 31. HYMN TO HELIOS 31. HYMN TO HELIOS Begin to sing, O Muse Kalliope, daughter of Zeus,
shorts mech 19
about shining Helios, whom cow-eyed Euryphaessa bore to the son of Gaia and starry Ouranos. When Hyperion married glorious Euryphaessa,
his sister, she gave birth to beautiful children: Eos with rosy arms, Selene with fine braids, and untiring Helios, resembling the immortals,
who shines on humans and gods, riding his horses. From his golden helmet, he sees with blazing eyes, brilliant light streams from him
and by his temples the glowing cheek-guards gracefully frame the soaring radiance of his face. The finely woven, luminous clothes on his skin
shimmer in the rush of winds. Stallions . . . [missing line] The wondrous god stays his gold-yoked chariot and horses
shorts mech 20
until he sends them through heaven toward Ocean. Hail, Lord, gladly grant me a welcome livelihood- I began with you and will glorify the race of fluent men,
demigods whose deeds the gods revealed to mortals. # 32. HYMN TO SELENE 32. HYMN TO SELENE Sing next of the long-winged Moon,
Muses skilled in song, melodious daughters of Kronion Zeus. From her immortal head in heaven rays whirl over the earth, deep beauty rises
in her brilliant light. The dusky air glows from her golden crown, moonbeams linger, when shining Selene bathes her lovely skin
in Ocean, slips into a dress of infinite radiance, yokes her luminous colts, necks arching high, and swiftly drives the glossy horses on
shorts mech 21
in evening at midmonth. Her great orbit full, as she waxes, the rays from heaven grow brightest.
Then she is a wonder and a sign for mortals. Once the son of Kronos mingled in love with her; she conceived and bore Pandeia, a daughter
lovely beyond measure among the deathless gods. Hail, gracious Queen, white-armed, radiant Selene, goddess with lush braids: beginning with you,
I will sing about the glory of demigods, whose deeds the bards, servants of the Muses, celebrate in sweet song. # 33. HYMN TO THE DIOSKOUROI
- HYMN TO THE DIOSKOUROI Dancing-eyed Muses, tell of the sons of Zeus, the Tyndarids, slender-ankled Leda’s glorious boys:
shorts mech 22
Kastor the horse tamer and blameless Polydeukes. After mingling in love with the storm-cloud son of Kronos, under the crown of Mount Taygetos, Leda bore twins,
saviors of earthbound folk and swift-sailing ships. When wintry gales rage over the relentless sea, sailors invoke the sons of mighty Zeus
with prayer offerings of white lambs, as they climb to the high stern deck. Strong wind and wave of the sea force the ship under water. Suddenly the gods appear,
darting on whirring wings through the air. They stop the blasts of cruel winds at once and calm the waves of the white salty sea-
fair signs of their toil to the sailors. They rejoice and cease their painful labor. Hail, Tyndarids, riders of swift horses-
shorts mech 23
but I will remember you and the rest of the song.
Theme: cult snapshot.
Theme: pirate Dionysos.
Theme: Ares peace.
Theme: Pan.
Theme: cosmic lights.
Theme: savior twins.
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Select Bibliography
Select Bibliography: spine
Select Bibliography: hub
Rayor cites the conversations (Clay, Foley, and others) that frame long-hymn theology.
SELECT BIBLIOGRAPHY This bibliography includes all the texts referred to in the notes, as well
as a selection of other useful works. GREEK TEXTS AND COMMENTARIES Allen, Thomas W. 1912.
Homeri Opera. Vol. 5. Oxford: Oxford University Press. Allen, T W., W. R. Halliday, and E. E. Sikes. 1936.
The Homeric Hymns. Oxford: Clarendon Press. Càssola, Filippo. 1997. Inni Omerici. 6th ed. Milan: A. Mondadori. (In Italian)
Gaisser, Julia Haig. 1980. Hymn to Demeter. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek, Bryn Mawr College.
Select Bibliography: mech 1
--. 1983. The Homeric Hymn to Hermes. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek, Bryn Mawr College.
Pearcy, Lee. 1989. The Shorter Homeric Hymns. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Thomas Library, Bryn Mawr College.
Richardson, N. J. 1974. The Homeric Hymn to Demeter. Oxford: Clarendon Press. Rose, Gilbert P. 2000.
The Homeric Hymn to Aphrodite. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Thomas Library, Bryn Mawr College.
Smith, Peter M., and Lee T. Pearcy. 1981. The Homeric Hymn to Apollo. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek,
Select Bibliography: mech 2
Bryn Mawr College. West, M.L. 1966. Theogony, by Hesiod. Oxford: Clarendon Press.
--. 1978. Works and Days, by Hesiod. Oxford: Clarendon Press. GENERAL Anderson, Warren. 1994.
Music and Musicians in Ancient Greece. Ithaca: Cornell University Press. Bergren, Ann L.T. 1982. “Sacred Apostrophe: Re-presentation and Imitation
in the Homeric Hymns.” Arethusa 15: 83-108. --. 1983. “Language and the Female in Early Greek Thought.” Arethusa
16: 69-95. Burkert, Walter. 1985. Greek Religion. Cambridge, Mass.: Harvard University
Select Bibliography: mech 3
Press. Buxton, Richard, ed. 2000. Oxford Readings in Greek Religion. Oxford: Oxford University Press.
Calame, Claude. 1995. The Craft of Poetic Speech in Ancient Greece. Translated by Janice Orion. Ithaca: Cornell University Press.
--. 1997. Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role, and Social Function. Translated by Derek
Collins and Janice Orion. Lanham, Md.: Rowman and Littlefield. Clay, Jenny Strauss. 1989. The Politics of Olympus: Form and Meaning in
the Major Homeric Hymns. Princeton: Princeton University Press. Comotti, Giovanni. 1989.
Select Bibliography: mech 4
Music in Greek and Roman Culture. Translated by Rosaria V. Munson. Baltimore: Johns Hopkins University
Press. Cosmopoulos, Michael B., ed. 2002. The Mysteries: The Archaeology of Ancient Greek Secret Cults.
London: Routledge. Demand, Nancy. 1994. Birth, Death, and Motherhood in Classical Greece.
Baltimore: Johns Hopkins University Press. Dodds, E. R. 1951. The Greeks and the Irrational. Berkeley: University of
California Press. Easterling, P. E., and J. V. Muir. 1985. Greeks Religion and Society. Cambridge:
Select Bibliography: mech 5
Cambridge University Press. Hägg, Robin, ed. 1996. The Role of Religion in the Early Greek Polis.
Stockholm: Svenska Institutet i Athen. Herington, John. 1985. Poetry into Drama: Early Tragedy and the Greek
Poetic Tradition. Berkeley: University of California Press. Herodotus. 1999. The Histories. Translated by Robin Waterfield. Introduction
and notes by Carolyn Dewald. Oxford: Oxford University Press. Janko, Richard. 1981. “The Structure of the Homeric Hymns: A Study in Genre.” Hermes
109: 9-24. --. 1982. Homer, Hesiod, and the Hymns. Cambridge: Cambridge University Press.
Select Bibliography: mech 6
Lombardo, Stanley, and Diane Rayor, trans. 1988. Callimachus: Hymns, Epigrams, Select Eragments. Baltimore: Johns Hopkins University
Press. Loraux, Nicole. 1994. The Children of Athena: Athenian Ideas about Citizenship
and the Division between the Sexes. Translated by Caroline Levine. Princeton: Princeton University Press.
Lyons, Deborah. 1995. Gender and Immortality: Heroines in Ancient Greek Myth and Cult.
Princeton: Princeton University Press. Marinatos, Nanno, and Robin Hagg, eds. 1993. Greek Sanctuaries: New
Select Bibliography: mech 7
Approaches. London: Routledge. Mathiesen, Thomas. 1999. Apollo’s Lyre: Greek Music and Music Theory
in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press. Pucci, Pietro. 1977.
Hesiod and the Language of Poetry. Baltimore: Johns Hopkins University Press. Rayor, Diane J. 1991. Sappho’s Lyre: Archaic Lyric and Women Poets of Ancient
Greece. Berkeley: University of California Press, (translations) Redfield, James. 1982. “Notes on the Greek Wedding.” Arethusa 15:
181-201. Slatkin, Laura M. 1991. The Power of Thetis. Berkeley: University of California Press.
Select Bibliography: mech 8
Sowa, Cora Angier. 1984. Traditional Themes and the Homeric Hymns. Chicago: Bolchazy-Carducci.
Stehle, Eva. 1997. Performance and Gender in Ancient Greece. Princeton: Princeton University Press.
Talbert, Richard J. A. 2000. Barrington Atlas of the Greek and Roman World. Princeton: Princeton University Press.
Thalmann, William G. 1984. Conventions of Form and Thought in Early Greek Epic Poetry.
Baltimore: Johns Hopkins University Press. Winkler, John J. 1990. The Constraints of Desire: The Anthropology of Sex
Select Bibliography: mech 9
and Gender in Ancient Greece. New York: Routledge. DEMETER Beck, Deborah. 2001. “Direct and Indirect Speech in the Homeric
Hymn to Demeter.” Transactions of the American Philological Association 130: 53-74. Brumfield, Allaire. 1996. “Aporreta: Verbal and Ritual Obscenity in the
Cults of Ancient Women.” In The Role of Religion in the Early Greek Polis, edited by Robin Hägg. Stockholm: Svenska Institutet i Athen.
Clinton, Kevin. 1992. Myth and Cult: The Iconography of the Eleusinian Mysteries.
Stockholm: Svenska Institutet i Athen. DeBloois, Nanci. 1997. “Rape, Marriage, or Death? Gender Perspectives in the Homeric Hymn to Demeter.”
Select Bibliography: mech 10
Philological Quarterly 76: 245-62. Foley, Helene P. 1994. The Homeric Hymn to Demeter. Princeton:
Princeton University Press. Nixon, Lucia. 1995. “The Cults of Demeter and Kore.” In Women in Antiquity, edited by Richard Hawley and Barbara Levick. London:
Routledge. Parker, Robert. 1991. “The Hymn to Demeter and the Homeric Hymns Greece and Rome
38: 1-17. Perkins, Caroline A. 1996. “Persephone’s Lie in the Homeric Hymn to Demeter.” Helios
23: 135-42. Pratt, Louise. 2000. “The Old Women of Ancient Greece and the Homeric Hymn to Demeter.” Transactions of the American Philological Association
Select Bibliography: mech 11
130: 41-65. Suter, Ann. 2002. The Narcissus and the Pomegranate: An Archaeology of the Homeric “Hymn to Demeter.” Ann Arbor: University of Michigan
Press. --. 2005. “Beyond the Limits of Lyric: The Female Poet of the Homeric Hymn to Demeter. Kernos
18: 17-41. Wasson, R. Gordon, Albert Hofmann, and Carl A. P. Ruck. 1978. The Road to Eleusis.
New York: Harcourt Brace Jovanovich. Zeitlin, Froma I. 1982. “Cultic Models of the Female: Rites of Dionysus and Demeter.” Arethusa
15: 129-57. APOLLO Bakker, Egbert J. 2002. “Remembering the God’s Arrival.” Arethusa
Select Bibliography: mech 12
35: 63-82. Fontenrose, Joseph. 1959. Python: A Study of Delphic Myth. Berkeley: University of California Press.
--. 1978. The Delphic Oracle. Berkeley: University of California Press. Miller, Andrew. 1986. From Delos to Delphi: A Literary Study of the Homeric
Hymn to Apollo. Leiden: E.J. Brill. O’Brien, Joan V. 1993. The Transformation of Hera. Lanham, Md.:
Rowman and Littlefield. HERMES Brown, Norman O. 1947. Hermes the Thief. Madison: University of
Wisconsin Press. Chittenden, Jacqueline. 1948. “Diaktoros Argeiphontes.” American Journal of Archaeology
Select Bibliography: mech 13
52: 24-33. Haft, Adele. 1996. “‘The Mercurial Significance of Raiding’: Baby Hermes and Animal Theft in Contemporary Crete.” Arion
4, no. 2: 27-48. Larson, Jennifer. 1995. “The Corycian Nymphs and the Bee Maidens of the Homeric Hymn to Hermes.” Greek Roman and Byzantine Studies
36: 341-57. Reece, Steve. 1997. “A figura etymologica in the Homeric Hymn to Hermes Classical Journal
93: 29-39. Tzifopoulos, Yannis Z. 2000. “Hermes and Apollo at Onchestos in the Homeric Hymn to Hermes. Mnemosyne
53: 148-63. APHRODITE Bergren, Ann L. T. 1989. “The Homeric Hymn to Aphrodite: Tradition and Rhetoric, Praise and Blame.” Classical Antiquity
Select Bibliography: mech 14
8: 1-41. Boedeker, Deborah Dickmann. 1974. Aphrodite’s Entry into Greek Epic. Leiden: E.J. Brill. Giacomelli [Carson], Anne. 1980. “Aphrodite and After.” Phoenix
34: 1-19. King, Helen. 1986. “Tithonos and the Tettix.” Arethusa 19: 15-35. Porter, H.N. 1949. “Repetition in the Homeric Hymn to Aphrodite
American Journal of Philology 70: 249-72. Segal, Charles. 1974. “The Homeric Hymn to Aphrodite: A Structural Approach.” Classical World
67: 205-12. --. 1986. “Tithonus and the Homeric Hymn to Aphrodite: A Comment.” Arethusa
19:37-47. Smith, Peter. 1981. Nursling of Mortality: A Study of the Homeric Hymn to Aphrodite.
Select Bibliography: mech 15
Studien zur klassischen Philologie 3. Frankfurt: Lang. Stehle, Eva. 1990. “Sappho’s Gaze: Fantasies of a Goddess and Young Man.” In
Sexuality in Greek and Roman Society, edited by David Konstan and Martha Nussbaum. Special issue of Differences
(2, no. 1). Wolkstein, Diane, and Samuel N. Kramer. 1983. Inanna: Queen of Heaven and Earth.
New York: Harper and Row. OTHER ADDRESSEES Cole, Susan G. 1998. “Domesticating Artemis.” In The Sacred and the Feminine in Ancient Greece,
edited by Sue Blundell and Margaret Williamson. London: Routledge. Haubold, Johannes. 2001. “The
Select Bibliography: mech 16
Homeric Hymn to Pan. ” Paper presented at the 132nd Annual Meeting of the American Philological
Association. San Diego, Calif., 6 January. Loraux, Nicole. 1990. “Herakles: The Super-Male and the Feminine.”
Before Sexuality: The Construction of Erotic Experience in the Ancient Greek World, edited by David M. Halperin, John J. Winkler,
and Froma I. Zeitlin. Princeton: Princeton University Press. Vernant, Jean Pierre. 1983. “Hestia-Hermes: The Religious Expression
of Space and Movement in Ancient Greece.” In Myth and Thought among the Greeks. London: Routledge and Kegan Paul.
Select Bibliography: mech 17
--. 1991. “The Figure and Functions of Artemis in Myth and Cult.” In his Mortals and Immortals: Collected Essays, edited by Froma
Zeitlin. Princeton: Princeton University Press. West, M. L. 1970. “The Eighth Homeric Hymn and Proclus.” Classical Quarterly
20: 300-304. SUPPLEMENTAL BIBLIOGRAPHY Of the most recent scholarship, I note three for their particular usefulness:
Faulkner’s (2011) essays and thorough bibliography, and the Greek texts and commentaries in Richardson 2010 and Faulkner 2008.
Chappell, M. 2006. “Delphi and the Homeric Hymn to Apollo.” Classical Quarterly 56, no. 2: 331-48.
Select Bibliography: mech 18
Constantine, Peter, Rachel Hadas, Edmund Keeley, and Karen Van Dyck. 2010. Greek Poets: Homer to the Present.
New York: W. W. Norton. Faulkner, A. 2008. The Homeric Hymn to Aphrodite: Introduction, Text, and
Commentary. Oxford: Oxford University Press. --, ed. 2011. The Homeric Hymns: Interpretative Essays. Oxford:
Oxford University Press. Fletcher, Judith. 2008. “A Trickster’s Oaths in the Homeric Hymn to
Hermes. American Journal of Philology 129, no. 1: 19-46. Glück, Louise. 2007. Averno.
Select Bibliography: mech 19
Farrar, Straus and Giroux. Greene, E., and M. Skinner, eds. 2009. The New Sappho on Old Age.
Cambridge, Mass.: Center for Hellenic Studies. Kowalzig, Barbara. 2007. Singing for the Gods: Performances of Myth and
Ritual in Archaic and Classical Greece. Oxford: Oxford University Press. Mullen, Harryette. 1981.
Tree Tall Woman. Galveston, Texas: Energy Earth Communications. O’Higgins, Laurie. 2003.
Women and Humor in Classical Greece. Cambridge: Cambridge University Press. Petersen, Lauren H., and Patricia Salzman-Mitchell. 2012. Mothering
Select Bibliography: mech 20
and Motherhood in Ancient Greece and Rome. Austin: University of Texas Press. Rehm, Rush. 1994.
Marriage to Death. Princeton: Princeton University Press. Richardson, Nicholas, ed. 2010. Three Homeric Hymns: To Apollo, Hermes,
and Aphrodite. Cambridge Greek and Latin Classics. Cambridge: Cambridge University Press.
Schein, Seth. 1985. The Mortal Hero. Berkeley: University of California Press. West, M. L., ed. and trans. 2003. Homeric Hymns, Homeric Apocrypha,
Lives of Homer. Loeb Classical Library 496. Cambridge, Mass.: Harvard University Press.
Select Bibliography: mech 21
Extended pass
SELECT BIBLIOGRAPHY This bibliography includes all the texts referred to in the notes, as well
ext 0
as a selection of other useful works. GREEK TEXTS AND COMMENTARIES Allen, Thomas W. 1912.
Homeri Opera. Vol. 5. Oxford: Oxford University Press. Allen, T W., W. R. Halliday, and E. E. Sikes. 1936.
The Homeric Hymns. Oxford: Clarendon Press. Càssola, Filippo. 1997. Inni Omerici. 6th ed. Milan: A. Mondadori. (In Italian)
Gaisser, Julia Haig. 1980. Hymn to Demeter. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek, Bryn Mawr College.
--. 1983. The Homeric Hymn to Hermes. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek, Bryn Mawr College.
Pearcy, Lee. 1989. The Shorter Homeric Hymns. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Thomas Library, Bryn Mawr College.
ext 6
Richardson, N. J. 1974. The Homeric Hymn to Demeter. Oxford: Clarendon Press. Rose, Gilbert P. 2000.
The Homeric Hymn to Aphrodite. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Thomas Library, Bryn Mawr College.
Smith, Peter M., and Lee T. Pearcy. 1981. The Homeric Hymn to Apollo. Bryn Mawr Commentaries. Bryn Mawr, Pa.: Department of Greek,
Bryn Mawr College. West, M.L. 1966. Theogony, by Hesiod. Oxford: Clarendon Press.
--. 1978. Works and Days, by Hesiod. Oxford: Clarendon Press. GENERAL Anderson, Warren. 1994.
Music and Musicians in Ancient Greece. Ithaca: Cornell University Press. Bergren, Ann L.T. 1982. “Sacred Apostrophe: Re-presentation and Imitation
ext 12
in the Homeric Hymns.” Arethusa 15: 83-108. --. 1983. “Language and the Female in Early Greek Thought.” Arethusa
16: 69-95. Burkert, Walter. 1985. Greek Religion. Cambridge, Mass.: Harvard University
Press. Buxton, Richard, ed. 2000. Oxford Readings in Greek Religion. Oxford: Oxford University Press.
Calame, Claude. 1995. The Craft of Poetic Speech in Ancient Greece. Translated by Janice Orion. Ithaca: Cornell University Press.
--. 1997. Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role, and Social Function. Translated by Derek
Collins and Janice Orion. Lanham, Md.: Rowman and Littlefield. Clay, Jenny Strauss. 1989. The Politics of Olympus: Form and Meaning in
ext 18
the Major Homeric Hymns. Princeton: Princeton University Press. Comotti, Giovanni. 1989.
Music in Greek and Roman Culture. Translated by Rosaria V. Munson. Baltimore: Johns Hopkins University
Press. Cosmopoulos, Michael B., ed. 2002. The Mysteries: The Archaeology of Ancient Greek Secret Cults.
London: Routledge. Demand, Nancy. 1994. Birth, Death, and Motherhood in Classical Greece.
Baltimore: Johns Hopkins University Press. Dodds, E. R. 1951. The Greeks and the Irrational. Berkeley: University of
California Press. Easterling, P. E., and J. V. Muir. 1985. Greeks Religion and Society. Cambridge:
ext 24
Cambridge University Press. Hägg, Robin, ed. 1996. The Role of Religion in the Early Greek Polis.
Stockholm: Svenska Institutet i Athen. Herington, John. 1985. Poetry into Drama: Early Tragedy and the Greek
Poetic Tradition. Berkeley: University of California Press. Herodotus. 1999. The Histories. Translated by Robin Waterfield. Introduction
and notes by Carolyn Dewald. Oxford: Oxford University Press. Janko, Richard. 1981. “The Structure of the Homeric Hymns: A Study in Genre.” Hermes
109: 9-24. --. 1982. Homer, Hesiod, and the Hymns. Cambridge: Cambridge University Press.
Lombardo, Stanley, and Diane Rayor, trans. 1988. Callimachus: Hymns, Epigrams, Select Eragments. Baltimore: Johns Hopkins University
ext 30
Press. Loraux, Nicole. 1994. The Children of Athena: Athenian Ideas about Citizenship
and the Division between the Sexes. Translated by Caroline Levine. Princeton: Princeton University Press.
Lyons, Deborah. 1995. Gender and Immortality: Heroines in Ancient Greek Myth and Cult.
Princeton: Princeton University Press. Marinatos, Nanno, and Robin Hagg, eds. 1993. Greek Sanctuaries: New
Approaches. London: Routledge. Mathiesen, Thomas. 1999. Apollo’s Lyre: Greek Music and Music Theory
in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press. Pucci, Pietro. 1977.
ext 36
Hesiod and the Language of Poetry. Baltimore: Johns Hopkins University Press. Rayor, Diane J. 1991. Sappho’s Lyre: Archaic Lyric and Women Poets of Ancient
Greece. Berkeley: University of California Press, (translations) Redfield, James. 1982. “Notes on the Greek Wedding.” Arethusa 15:
181-201. Slatkin, Laura M. 1991. The Power of Thetis. Berkeley: University of California Press.
Sowa, Cora Angier. 1984. Traditional Themes and the Homeric Hymns. Chicago: Bolchazy-Carducci.
Stehle, Eva. 1997. Performance and Gender in Ancient Greece. Princeton: Princeton University Press.
Talbert, Richard J. A. 2000. Barrington Atlas of the Greek and Roman World. Princeton: Princeton University Press.
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Thalmann, William G. 1984. Conventions of Form and Thought in Early Greek Epic Poetry.
Baltimore: Johns Hopkins University Press. Winkler, John J. 1990. The Constraints of Desire: The Anthropology of Sex
and Gender in Ancient Greece. New York: Routledge. DEMETER Beck, Deborah. 2001. “Direct and Indirect Speech in the Homeric
Hymn to Demeter.” Transactions of the American Philological Association 130: 53-74. Brumfield, Allaire. 1996. “Aporreta: Verbal and Ritual Obscenity in the
Cults of Ancient Women.” In The Role of Religion in the Early Greek Polis, edited by Robin Hägg. Stockholm: Svenska Institutet i Athen.
Clinton, Kevin. 1992. Myth and Cult: The Iconography of the Eleusinian Mysteries.
ext 48
Stockholm: Svenska Institutet i Athen. DeBloois, Nanci. 1997. “Rape, Marriage, or Death? Gender Perspectives in the Homeric Hymn to Demeter.”
Philological Quarterly 76: 245-62. Foley, Helene P. 1994. The Homeric Hymn to Demeter. Princeton:
Princeton University Press. Nixon, Lucia. 1995. “The Cults of Demeter and Kore.” In Women in Antiquity, edited by Richard Hawley and Barbara Levick. London:
Routledge. Parker, Robert. 1991. “The Hymn to Demeter and the Homeric Hymns Greece and Rome
38: 1-17. Perkins, Caroline A. 1996. “Persephone’s Lie in the Homeric Hymn to Demeter.” Helios
23: 135-42. Pratt, Louise. 2000. “The Old Women of Ancient Greece and the Homeric Hymn to Demeter.” Transactions of the American Philological Association
ext 54
130: 41-65. Suter, Ann. 2002. The Narcissus and the Pomegranate: An Archaeology of the Homeric “Hymn to Demeter.” Ann Arbor: University of Michigan
Press. --. 2005. “Beyond the Limits of Lyric: The Female Poet of the Homeric Hymn to Demeter. Kernos
18: 17-41. Wasson, R. Gordon, Albert Hofmann, and Carl A. P. Ruck. 1978. The Road to Eleusis.
New York: Harcourt Brace Jovanovich. Zeitlin, Froma I. 1982. “Cultic Models of the Female: Rites of Dionysus and Demeter.” Arethusa
15: 129-57. APOLLO Bakker, Egbert J. 2002. “Remembering the God’s Arrival.” Arethusa
35: 63-82. Fontenrose, Joseph. 1959. Python: A Study of Delphic Myth. Berkeley: University of California Press.
ext 60
--. 1978. The Delphic Oracle. Berkeley: University of California Press. Miller, Andrew. 1986. From Delos to Delphi: A Literary Study of the Homeric
Hymn to Apollo. Leiden: E.J. Brill. O’Brien, Joan V. 1993. The Transformation of Hera. Lanham, Md.:
Rowman and Littlefield. HERMES Brown, Norman O. 1947. Hermes the Thief. Madison: University of
Wisconsin Press. Chittenden, Jacqueline. 1948. “Diaktoros Argeiphontes.” American Journal of Archaeology
52: 24-33. Haft, Adele. 1996. “‘The Mercurial Significance of Raiding’: Baby Hermes and Animal Theft in Contemporary Crete.” Arion
4, no. 2: 27-48. Larson, Jennifer. 1995. “The Corycian Nymphs and the Bee Maidens of the Homeric Hymn to Hermes.” Greek Roman and Byzantine Studies
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36: 341-57. Reece, Steve. 1997. “A figura etymologica in the Homeric Hymn to Hermes Classical Journal
93: 29-39. Tzifopoulos, Yannis Z. 2000. “Hermes and Apollo at Onchestos in the Homeric Hymn to Hermes. Mnemosyne
53: 148-63. APHRODITE Bergren, Ann L. T. 1989. “The Homeric Hymn to Aphrodite: Tradition and Rhetoric, Praise and Blame.” Classical Antiquity
8: 1-41. Boedeker, Deborah Dickmann. 1974. Aphrodite’s Entry into Greek Epic. Leiden: E.J. Brill. Giacomelli [Carson], Anne. 1980. “Aphrodite and After.” Phoenix
34: 1-19. King, Helen. 1986. “Tithonos and the Tettix.” Arethusa 19: 15-35. Porter, H.N. 1949. “Repetition in the Homeric Hymn to Aphrodite
American Journal of Philology 70: 249-72. Segal, Charles. 1974. “The Homeric Hymn to Aphrodite: A Structural Approach.” Classical World
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67: 205-12. --. 1986. “Tithonus and the Homeric Hymn to Aphrodite: A Comment.” Arethusa
19:37-47. Smith, Peter. 1981. Nursling of Mortality: A Study of the Homeric Hymn to Aphrodite.
Studien zur klassischen Philologie 3. Frankfurt: Lang. Stehle, Eva. 1990. “Sappho’s Gaze: Fantasies of a Goddess and Young Man.” In
Sexuality in Greek and Roman Society, edited by David Konstan and Martha Nussbaum. Special issue of Differences
(2, no. 1). Wolkstein, Diane, and Samuel N. Kramer. 1983. Inanna: Queen of Heaven and Earth.
New York: Harper and Row. OTHER ADDRESSEES Cole, Susan G. 1998. “Domesticating Artemis.” In The Sacred and the Feminine in Ancient Greece,
ext 78
edited by Sue Blundell and Margaret Williamson. London: Routledge. Haubold, Johannes. 2001. “The
Homeric Hymn to Pan. ” Paper presented at the 132nd Annual Meeting of the American Philological
Association. San Diego, Calif., 6 January. Loraux, Nicole. 1990. “Herakles: The Super-Male and the Feminine.”
Before Sexuality: The Construction of Erotic Experience in the Ancient Greek World, edited by David M. Halperin, John J. Winkler,
and Froma I. Zeitlin. Princeton: Princeton University Press. Vernant, Jean Pierre. 1983. “Hestia-Hermes: The Religious Expression
of Space and Movement in Ancient Greece.” In Myth and Thought among the Greeks. London: Routledge and Kegan Paul.
ext 84
--. 1991. “The Figure and Functions of Artemis in Myth and Cult.” In his Mortals and Immortals: Collected Essays, edited by Froma
Zeitlin. Princeton: Princeton University Press. West, M. L. 1970. “The Eighth Homeric Hymn and Proclus.” Classical Quarterly
20: 300-304. SUPPLEMENTAL BIBLIOGRAPHY Of the most recent scholarship, I note three for their particular usefulness:
Faulkner’s (2011) essays and thorough bibliography, and the Greek texts and commentaries in Richardson 2010 and Faulkner 2008.
Chappell, M. 2006. “Delphi and the Homeric Hymn to Apollo.” Classical Quarterly 56, no. 2: 331-48.
Constantine, Peter, Rachel Hadas, Edmund Keeley, and Karen Van Dyck. 2010. Greek Poets: Homer to the Present.
ext 90
New York: W. W. Norton. Faulkner, A. 2008. The Homeric Hymn to Aphrodite: Introduction, Text, and
Commentary. Oxford: Oxford University Press. --, ed. 2011. The Homeric Hymns: Interpretative Essays. Oxford:
Oxford University Press. Fletcher, Judith. 2008. “A Trickster’s Oaths in the Homeric Hymn to
Hermes. American Journal of Philology 129, no. 1: 19-46. Glück, Louise. 2007. Averno.
Farrar, Straus and Giroux. Greene, E., and M. Skinner, eds. 2009. The New Sappho on Old Age.
Cambridge, Mass.: Center for Hellenic Studies. Kowalzig, Barbara. 2007. Singing for the Gods: Performances of Myth and
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Ritual in Archaic and Classical Greece. Oxford: Oxford University Press. Mullen, Harryette. 1981.
Tree Tall Woman. Galveston, Texas: Energy Earth Communications. O’Higgins, Laurie. 2003.
Women and Humor in Classical Greece. Cambridge: Cambridge University Press. Petersen, Lauren H., and Patricia Salzman-Mitchell. 2012. Mothering
and Motherhood in Ancient Greece and Rome. Austin: University of Texas Press. Rehm, Rush. 1994.
Marriage to Death. Princeton: Princeton University Press. Richardson, Nicholas, ed. 2010. Three Homeric Hymns: To Apollo, Hermes,
and Aphrodite. Cambridge Greek and Latin Classics. Cambridge: Cambridge University Press.
ext 102
Schein, Seth. 1985. The Mortal Hero. Berkeley: University of California Press. West, M. L., ed. and trans. 2003. Homeric Hymns, Homeric Apocrypha,
Lives of Homer. Loeb Classical Library 496. Cambridge, Mass.: Harvard University Press.
Theme: texts.
Theme: commentaries.
Theme: general studies.
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Main Points
Master tokens
Main Points
- Homeric Homeric names meter and dialect, not single authorship by Homer.
- Long Long hymns invent narrative theology while Zeus's details are unsettled.
- Demeter's Demeter's Eleusis sojourn is unique to Hymn 2 and founds Mysteries.
- Marriage Marriage and death share ritual language; abduction and arrangement both speak.
- Apollo's Apollo's Delian and Pythian arcs found birth honour and oracle.
- Telphusa Telphusa shows rival springs renamed by the winner.
- Hermes Hermes enters by craft, theft, and Zeus's laugh turned into exchange.
- Aphrodite Aphrodite is disciplined by her own weapon and warns via Dawn and Tithonos.
- Short Short hymns are attribute cards with khaire closes.
- Ares Ares can be asked for peace courage, not only bloodlust.
- Pan's Pan's hymn keeps wild noise inside praise form.
- Athena's Athena's armed birth pairs with iconography in Rayor's teaching notes.
- Gaia Gaia Helios Selene keep cosmic lights in cult speech.
- Dioskouroi Dioskouroi save at sea as portable savior twins.
- Rayor's Rayor's bibliography and Clay/Foley frames are entry points, not closed canons.
- Do Do not skip A closer look: fragments, joined hymns, and gender readings stay live.
- Domain Domain charters still name cost, honour, and who must accept the new power.
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About this book
The Homeric Hymns by Anonymous (Homeric tradition). This is a chapter-by-chapter study of the book, with summaries, maps, tables and diagrams; short quotations keep their page references. It is shared free for personal study, is not for sale, and is not endorsed by the author or publisher. Please read and buy the original.
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