Array Anacreon - Yale Required Reading - Collected Works (Vol. 1)

On this Minerva came close up to him and said, “Son of Arceisius — best friend I have in the world — pray to the blue-eyed damsel, and to Jove her father; then poise your spear and hurl it.”

As she spoke she infused fresh vigour into him, and when he had prayed to her he poised his spear and hurled it. He hit Eupeithes’ helmet, and the spear went right through it, for the helmet stayed it not, and his armour rang rattling round him as he fell heavily to the ground. Meantime Ulysses and his son fell the front line of the foe and smote them with their swords and spears; indeed, they would have killed every one of them, and prevented them from ever getting home again, only Minerva raised her voice aloud, and made every one pause. “Men of Ithaca,” she cried, cease this dreadful war, and settle the matter at once without further bloodshed.”

On this pale fear seized every one; they were so frightened that their arms dropped from their hands and fell upon the ground at the sound of the goddess’s voice, and they fled back to the city for their lives. But Ulysses gave a great cry, and gathering himself together swooped down like a soaring eagle. Then the son of Saturn sent a thunderbolt of fire that fell just in front of Minerva, so she said to Ulysses, “Ulysses, noble son of Laertes, stop this warful strife, or Jove will be angry with you.”

Thus spoke Minerva, and Ulysses obeyed her gladly. Then Minerva assumed the form and voice of Mentor, and presently made a covenant of peace between the two contending parties.

Table of Contents

THE SO-CALLED HOMERIC HYMNS

THE HYMN TO HERMES

THE HYMN TO APHRODITE

THE HYMN TO DEMETER

HYMN TO DEMETER

CONCLUSION

HOMERIC HYMNS

HYMN TO APOLLO

THE FOUNDING OF DELPHI

II. HERMES

III. APHRODITE

IV. HYMN TO DEMETER

V. TO APHRODITÉ

VI. TO DIONYSUS

VII. TO ARES

VIII. TO ARTEMIS

IX. TO APHRODITE

X. TO ATHENE

XI. TO HERA

XII. TO DEMETER

XIII. TO THE MOTHER OF THE GODS

XIV. TO HERACLES THE LION-HEART

XV. TO ASCLEPIUS

XVI. TO THE DIOSCOURI

XVII. TO HERMES

XVIII. TO PAN

XIX. TO HEPHÆSTUS

XX. TO APOLLO

XXI. TO POSEIDON

XXII. TO HIGHEST ZEUS

XXIII. TO HESTIA

XXIV. TO THE MUSES AND APOLLO

XXV. TO DIONYSUS

XXVI. TO ARTEMIS

XXVII. TO ATHENE

XXVIII. TO HESTIA

XXIX. TO EARTH, THE MOTHER OF ALL

XXX. TO HELIOS

XXXI. TO THE MOON

XXXII. TO THE DIOSCOURI

XXXIII. TO DIONYSUS

Table of Contents

Table of Contents

“The existing collection of the Hymns is of unknown editorship, unknown date, and unknown purpose,” says Baumeister. Why any man should have collected the little preludes of five or six lines in length, and of purely conventional character, while he did not copy out the longer poems to which they probably served as preludes, is a mystery. The celebrated Wolf, who opened the path which leads modern Homerologists to such an extraordinary number of divergent theories, thought rightly that the great Alexandrian critics before the Christian Era, did not recognise the Hymns as “Homeric.” They did not employ the Hymns as illustrations of Homeric problems; though it is certain that they knew the Hymns, for one collection did exist in the third century B.C. 4Diodorus and Pausanias, later, also cite “the poet in the Hymns,” “Homer in the Hymns”; and the pseudo-Herodotus ascribes the Hymns to Homer in his Life of that author. Thucydides, in the Periclean age, regards Homer as the blind Chian minstrel who composed the Hymn to the Delian Apollo: a good proof of the relative antiquity of that piece, but not evidence, of course, that our whole collection was then regarded as Homeric. Baumeister agrees with Wolf that the brief Hymns were recited by rhapsodists as preludes to the recitation of Homeric or other cantos. Thus, in Hymn xxxi. 18, the poet says that he is going on to chant “the renowns of men half divine.” Other preludes end with a prayer to the God for luck in the competition of reciters.

This, then, is the plausible explanation of most of the brief Hymns—they were preludes to epic recitations—but the question as to the long narrative Hymns with which the collection opens is different. These were themselves rhapsodies recited at Delphi, at Delos, perhaps in Cyprus (the long Hymn to Aphrodite), in Athens (as the Hymn to Pan, who was friendly in the Persian invasion), and so forth. That the Pisistratidæ organised Homeric recitations at Athens is certain enough, and Baumeister suspects, in xiv., xxiii., xxx., xxxi., xxxii., the hand of Onomacritus, the forger of Oracles, that strange accomplice of the Pisistratidæ. The Hymn to Aphrodite is just such a lay as the Phæacian minstrel sang at the feast of Alcinous, in the hearing of Odysseus. Finally Baumeister supposes our collection not to have been made by learned editors, like Aristarchus and Zenodotus, but committed confusedly from memory to papyrus by some amateur. The conventional attribution of the Hymns to Homer, in spite of linguistic objections, and of many allusions to things unknown or unfamiliar in the Epics, is merely the result of the tendency to set down “masterless” compositions to a well-known name. Anything of epic characteristics was allotted to the master of Epic. In the same way an unfathered joke of Lockhart’s was attributed to Sydney Smith, and the process is constantly illustrated in daily conversation. The word υμνος, hymn, had not originally a religious sense: it merely meant a lay. Nobody calls the Theocritean idylls on Heracles and the Dioscuri “hymns,” but they are quite as much “hymns” (in our sense) as the “hymn” on Aphrodite, or on Hermes.

To the English reader familiar with the Iliad and Odyssey the Hymns must appear disappointing, if he come to them with an expectation of discovering merits like those of the immortal epics. He will not find that they stand to the Iliad as Milton’s “Ode to the Nativity” stands to “Paradise Lost.” There is in the Hymns, in fact, no scope for the epic knowledge of human nature in every mood and aspect. We are not so much interested in the Homeric Gods as in the Homeric mortals, yet the Hymns are chiefly concerned not with men, but with Gods and their mythical adventures. However, the interest of the Hymn to Demeter is perfectly human, for the Goddess is in sorrow, and is mingling with men. The Hymn to Aphrodite, too, is Homeric in its grace, and charm, and divine sense of human limitations, of old age that comes on the fairest, as Tithonus and Anchises; of death and disease that wait for all. The life of the Gods is one long holiday; the end of our holiday is always near at hand. The Hymn to Dionysus, representing him as a youth in the fulness of beauty, is of a charm which was not attainable, while early art represented the God as a mature man; but literary art, in the Homeric age, was in advance of sculpture and painting. The chief merit of the Delian Hymn is in the concluding description of the assembled Ionians, happy seafarers like the Phæacians in the morning of the world. The confusions of the Pythian Hymn to Apollo make it less agreeable; and the humour of the Hymn to Hermes is archaic. All those pieces, however, have delightfully fresh descriptions of sea and land, of shadowy dells, flowering meadows, dusky, fragrant caves; of the mountain glades where the wild beasts fawn in the train of the winsome Goddess; and the high still peaks where Pan wanders among the nymphs, and the glens where Artemis drives the deer, and the spacious halls and airy palaces of the Immortals. The Hymns are fragments of the work of a school which had a great Master and great traditions: they also illustrate many aspects of Greek religion.