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The Homeric Hymns: A Translation, with Introduction and Notes PDF

215 Pages·2014·1.04 MB·English
by  Rayor
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The Homeric Hymns A Translation, with Introduction and Notes Diane J. Rayor Updated Edition UNIVERSITY OF CALIFORNIA PRESS Berkley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2004, 2014 by The Regents of the University of California ISBN 978-0-520-28211-7 (paper) ISBN 978-0-520-95782-4 (ebook) The Library of Congress has cataloged an earlier edition of this book as follows: Library of Congress Cataloging-in-Publication Data Homeric hymns. English. The Homeric hymns : translation, with introduction and notes, Diane J. Rayor. p. cm. Includes bibliographical references (p. ). ISBN 978-0-520-23993-7 (pbk. : alk. paper) 1. Homeric hymns—Translations into English. 2. Hymns, Greek (Classical)—Translations into English. 3. Gods, Greek—Poetry. I. Rayor, Diane J. II. Title. PA4125.H8R395 2004 883'.01—dc21 2003005065 2003005065 To David and Daniel, with love C O N T E N T S Preface Acknowledgment Map Introduction 1. Dionysos 2. Demeter 3. Apollo 4. Hermes 5. Aphrodite 6. Aphrodite 7. Dionysos 8. Ares 9. Artemis 10. Aphrodite 11. Athena 12. Hera 13. Demeter 14. Mother of the Gods 15. Herakles 16. Asklepios 17. Dioskouroi 18. Hermes 19. Pan 20. Hephaistos 21. Apollo 22. Poseidon 23. Zeus 24. Hestia 25. The Muses, Apollo, and Zeus 26. Dionysos 27. Artemis 28. Athena 29. Hestia and Hermes 30. Gaia 31. Helios 32. Selene 33. Dioskouroi 34. Xenoi Notes Select Bibliography Glossary P R E F A C E 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 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 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, 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 2 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):

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The Homeric Hymns have survived for two and a half millennia because of their captivating stories, beautiful language, and religious significance. Well before the advent of writing in Greece, they were performed by traveling bards at religious events, competitions, banquets, and festivals. These thi
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