By Athanassios Vergados
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Aims and Scope
The Hymn to Hermes, whereas definitely the main a laugh of the so-called Homeric Hymns, additionally provides 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 scouse borrow Apollo’s livestock, organizes a banquet on the river Alpheios the place he serves the beef of 2 of the stolen animals, cunningly defends his innocence, and is ultimately reconciled to Apollo, to whom he provides the lyre in alternate for the livestock. This publication offers the 1st certain remark committed in particular to this strange poem considering that Radermacher’s 1931 version. The remark will pay unique awareness to linguistic, philological, and interpretive issues. it truly is preceded via a close creation that addresses the Hymn’s rules on poetry and song, the poem’s humour, the Hymn’s relation to different archaic hexameter literature either in thematic and technical features, the poem’s reception in later literature, its constitution, the difficulty 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 collage of Athens, Greece.
xiv, 718 pages
Language: English, historical Greek
Type of book: Commentary
Keywords: Homeric Hymns; Hermes; Poetry; Greek; faith
Preview of A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41) PDF
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Extra resources for A Commentary on the Homeric Hymn to Hermes: Introduction, Text and Commentary (Texte und Kommentare, Band 41)
Col. vi 4). The life of metrical equivalents, in particular within the vocative, aren't reason any shock, given the theological nature of the textual content. Cf. Cantilena (1982, 180–81). an analogous applies to: okay « E « (304) ~ « #A φ « (294; cf. h. Hom. 29. thirteen « E «); and «$ μ« ¹ « (314/500) ~ « λ μ« ¹ « (243/321). nine λ « (358) ~ « μ« (290). Fernández-Delgado (1990, 211) considers 358 for instance of a formulation used humorously in a brand new context, evaluating Il. 1. forty seven the place Apollo is related to maneuver to the Greek camp λ «. ( « φ «) (511) ~ ( μ« #) (108). four. 1. 2. 2 significant substitutions there are many situations in h. Herm. within which the poet turns out to have shunned using latest Homeric words, frequently for semantic purposes. 17 h. Herm. sixty seven « μ« — nine ~ Il. 15. 324 « μ« $ ). 50 1. 2. three. four. five. 6. 7. eight. nine. 10. advent (27); cf. Il. 14. 347 (metrically admissible here). within the Iliad plants is springing from the earth in the course of Zeus and Hera’s lovemaking, for that reason - is so as there. $ $ (87); Il. 18. 561 $ (same sedes) is metrically admissible the following. Od. 6. 293 #$ can also were used the following with moderate amendment. the alternative of $ should be planned in view of ninety one: the winery has now not but borne fruit, and the poet issues to the looks of the 1st vineshoots; cf. LfgrE, s. v. $ 1a. φ « (94); γ« , a verse-beginning abundantly attested in early hexameter, might have been used right here. The in a different way unattested φ « (an emendation of Chalcocondyles’) may perhaps intend to attract recognition to the brevity of Hermes’ previous speech. (97) is prosodically akin to (Il. eight. 488* et al. ); however the poet has already used φ within the verse. # λ « (123). Il. thirteen. 565* # λ « might have been used the following, yet there doesn't appear to be any explanation for this substitution. μ « φ « « ¹ « (189). Il. 7. 23 μ « Ν μ« ¹μ« #A might have been used right here. This selection turns out significant: the similarity to 89 ( μ « φ M « « ¹ «) invitations us to match Hermes and Apollo’s stumble upon with the previous guy. «$ #Ν (193). Il. 15. 244* φ $ #Ν might have been used the following; there doesn't look any precise explanation for this modification. φ #² (212); cf. Il. 22. seventy seven #² , that may have stood the following. ξφ λΝ φ φ « (250): the poet can have used for φ and Ν φ , yet selected to stress the color of Maia’s rather than Ν outfits; cf. n. advert loc. μ # $ « $ « (272), μ # $ « $ (380), μ # $ «$ (459). those clausulae are limited to h. Herm. Epic as a rule makes use of $ « ; the poet’s choice for $ can be attributed to the emphasis on oratory and Hermes’ court docket defence speeches. Relation to Archaic Literature eleven. 12. thirteen. 14. 15. sixteen. 17. 18. 19. 18 fifty one ² nine ( λ ¹ ) (317); for the 1st hemistich, the poet may have tailored Od. 1. fifty six λ ξ ( λ ¹ ). there's an emphasis on during this Hymn (cf. seventy six, 108, 166, 447, 465, 511), to which this verse conforms. (348): the poet can have tailored (cf. Il. 1. 483, Od. 2. 213, 2. 429, h. Herm. 200); may be understood actually; cf. n. advert loc. $ $ (368; cf. 561) is bizarre to our poet (it is located in other places purely at Doroth. p. 405. 18 = Heph. Astr. in Cat. Cod. Astr. p. 297. 13); the Homeric $ might have been hired.