By Athanassios Vergados
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Aims and Scope
The Hymn to Hermes, whereas without doubt the main a laugh of the so-called Homeric Hymns, additionally offers an array of not easy difficulties. in precisely 580 traces, the child god invents the lyre and sings a hymn to himself, travels from Cyllene to Pieria to thieve Apollo’s farm animals, organizes a dinner party on the river Alpheios the place he serves the beef of 2 of the stolen animals, cunningly defends his innocence, and is eventually reconciled to Apollo, to whom he provides the lyre in trade for the livestock. This publication offers the 1st particular statement committed in particular to this strange poem given that Radermacher’s 1931 version. The observation can pay unique awareness to linguistic, philological, and interpretive concerns. it really is preceded via a close creation that addresses the Hymn’s principles on poetry and song, the poem’s humour, the Hymn’s relation to different archaic hexameter literature either in thematic and technical facets, the poem’s reception in later literature, its constitution, the problem of its date and position of composition, and the query of its transmission. The serious textual content, in accordance with F. Càssola’s version, is provided with an equipment of formulaic parallels in archaic hexameter poetry in addition to attainable verbal echoes in later literature.
Athanassios Vergados, Ruprecht-Karls-Universität Heidelberg, Germany, andNational and Kapodistrian college of Athens, Greece.
xiv, 718 pages
Language: English, historic Greek
Type of book: Commentary
Keywords: Homeric Hymns; Hermes; Poetry; Greek; faith
Read Online or Download A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41) PDF
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Additional info for A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41)
The only trace he intends to leave behind are the cow-hides, which are indeed what Apollo sees at 403–408. He is led to wondering how an infant like Hermes could slaughter ( ) two cows. Again, Apollo is misled by Hermes’ . 36 One example should suffice: the proverb at 36 is ambiguous. It may appear as a general injunction to stay at home because it is safe there, but we quickly find out that once the tortoise enters the cave (= from the god’s perspective), it will be for Hermes, but for the animal.
See n. ad loc. See Hynes and Doty (1997, 1–2); Bowie (1993, 11–14) for a similar approach in Old Comedy. ) that leads us back into the (divine and human) world as the audience know it today. The Hymn is then “instructive entertainment” as Hynes and Doty (1997, 7) call the trickster stories, or to use a more classical term, a case of that instructs us not only about the mythical story of Hermes but about the seriousness of the theological speculation presented in the rhapsodic hymns as well. 24 The term is purposefully chosen here for its musical connotations, viz.
Pratt (1993, 55–72) discusses the affinities between the poet and the trickster. The poets’ emphasis on the artificiality of poetry goes naturally hand in hand with their becoming more conscious of their art. The realization that the poet may have affinities to the liar brings poetry’s fictionality into greater prominence. This is already present in the Odyssey: Odysseus the liar takes on the role of the poet when he narrates his Apologoi. , where the god of liars is presented as the inventor of the lyre and the hymnic genre.
A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41) by Athanassios Vergados