Introduction
Contexts of reception: the case of the Homeric Hymn (3) to Apollo
ἔνθα τοι ἑλκεχίτωνες Ἰάονες ἠγερέθονται
σὺν σφοῖσιν τεκέεσσι γυναιξί τε σὴν ἐς ἀγυιάν·
ἔνθα σε πυγμαχίῃ τε καὶ ὀρχηστυῖ καὶ ἀοιδῇ
150μνησάμενοι τέρπουσιν, ὅταν καθέσωσιν ἀγῶνα.
[Beginning of a point of insertion: The preceding verses, as quoted by Thucydides, correspond to the following verses as transmitted by the medieval manuscript traditions of the Homeric Hymn (3) to Apollo, 146–150.]
ἔνθα τοι ἑλκεχίτωνες Ἰάονες ἠγερέθονται
αὐτοῖς σὺν παίδεσσι καὶ αἰδοίῃς ἀλόχοισιν.
οἱ δέ σε πυγμαχίῃ τε καὶ ὀρχηθμῷ καὶ ἀοιδῇ
μνησάμενοι τέρπουσιν, ὅταν στήσωνται ἀγῶνα.
[End of point of insertion. Now, to resume what Thucydides is saying … ]
χαίρετε δ’ ὑμεῖς πᾶσαι. ἐμεῖο δὲ καὶ μετόπισθε
μνήσασθ’, ὁππότε κέν τις ἐπιχθονίων ἀνθρώπων
ἐνθάδ’ ἀνείρηται ταλαπείριος ἄλλος ἐπελθών·
ὦ κοῦραι, τίς δ’ ὔμμιν ἀνὴρ ἥδιστος ἀοιδῶν
ἐνθάδε πωλεῖται, καὶ τέῳ τέρπεσθε μάλιστα;
ὑμεῖς δ’ εὖ μάλα πᾶσαι ὑποκρίνασθαι ἀφήμως· [7]
τυφλὸς ἀνήρ, οἰκεῖ δὲ Χίῳ ἔνι παιπαλοέσσῃ.
[Beginning of another point of insertion: the preceding verses, as quoted by Thucydides, correspond to the following verses as transmitted by the medieval manuscript traditions of the Homeric Hymn (3) to Apollo, 165–172.]
χαίρετε δ’ ὑμεῖς πᾶσαι· ἐμεῖο δὲ καὶ μετόπισθε
μνήσασθ’, ὁππότε κέν τις ἐπιχθονίων ἀνθρώπων
ἐνθάδ’ ἀνείρηται ξεῖνος ταλαπείριος ἐλθών·
ὦ κοῦραι, τίς δ’ ὔμμιν ἀνὴρ ἥδιστος ἀοιδῶν
170 ἐνθάδε πωλεῖται, καὶ τέῳ τέρπεσθε μάλιστα;
ὑμεῖς δ’ εὖ μάλα πᾶσαι ὑποκρίνασθαι ἀφ’ ἡμέων· [8]
τυφλὸς ἀνήρ, οἰκεῖ δὲ Χίῳ ἔνι παιπαλοέσσῃ.
[End of point of insertion. Now, to resume what Thucydides is saying … ]
there the Ionians, with khitons trailing, gather
with their children and their wives, along the causeway [aguia], [9]
and there with boxing and dancing and song
they have you in mind and delight [terpein] you, whenever they set up a competition [agōn].
{282|283}
[Beginning of a point of insertion: The preceding verses, as quoted by Thucydides, correspond to the following verses as transmitted by the medieval manuscript traditions of the Homeric Hymn (3) to Apollo, 146–150.]
where the Ionians, with khitons trailing, gather
with their children and their circumspect wives.
And they with boxing and dancing and song
have you in mind and delight [terpein] you, whenever they set up a competition [agōn].
and you all also, hail [khairete] and take pleasure, all of you [Maidens of Delos]. Keep me, even in the future,
in your mind, whenever someone, out of the whole mass of earthbound humanity,
while here [in Delos], after arduous wandering, someone else, asks this question:
“O Maidens, who is for you the most pleasurable of singers
170that wanders here? In whom do you take the most delight [terpesthai]?”
Then you, all of you [Maidens of Delos], must very properly respond [hupokrinasthai], without naming names: [10]
“It is a blind man, and he dwells in Chios, a rugged land.”
[Beginning of another point of insertion: the preceding verses, as quoted by Thucydides, correspond to the following verses as transmitted by the medieval manuscript traditions of the Homeric Hymn (3) to Apollo, 165–172.]
and you all also, hail [khairete] and take pleasure, all of you [Maidens of Delos]. Keep me, even in the future,
in your mind, whenever someone, out of the whole mass of earthbound humanity,
comes here [to Delos], after arduous wandering, as a guest entitled to the rules of hosting, and asks this question:
“O Maidens, who is for you the most pleasurable of singers
170that wanders here? In whom do you take the most delight [terpesthai]?”
Then you, all of you [Maidens of Delos], must very properly respond [hupokrinasthai] about me: [11]
“It is a blind man, and he dwells in Chios, a rugged land.”
[End of point of insertion. Now, to resume what Thucydides is saying … ]
{283|284}
An ancient Athenocentric view of Homer
Partly on the basis of this passage, Martin West has argued that Hipparkhos arranged for the first complete performance of the Homeric Iliad and Odyssey by rhapsōidoi ‘rhapsodes’ competing at the festival of the Panathenaia that was celebrated in 522 BCE (starting on 19 August). [23] In the book Homer the Preclassic, I in turn have argued that these epics had been ‘brought over’ (komizein) to Athens from the island state of Chios, along with Homer’s notional descendants, called the Homēridai, who were the official performers of these epics in Chios. [24] {287|288}
An ancient post-Athenocentric view of Homer
It can be argued that the ultimate source for this compressed and elliptic account transmitted in the scholia for Pindar is Aristarchus of Samothrace, head of the Library of Alexandria in the second century BCE. [28] As for the dating of Kynaithos by Hippostratus, the time-frame of 504–501 BCE for his rhapsodic performance in Syracuse is comparable with the date proposed for the performance of the Homeric Hymn to Apollo on the occasion arranged by Polycrates of Samos: as we have seen, that date could be 522 BCE. [29] So the performer for that occasion could have been Kynaithos himself.
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον Ἀπόλλωνα χρυσάορον, ὃν τέκε Λητώ.
sang-and-danced [melpein], [30] stitching together [rhaptein] a song in new humnoi,
making Phoebus Apollo the subject of our song, the one with the golden weapon, the one born of Leto. {289|290}
Other ancient views of Homer
Evidence from Life of Homer narratives
And the point I have just made about Life of Homer narratives applies also to Life of Hesiod narratives. [39]
Homer as performer of the Hymn to Apollo in a Life of Homer narrative
Homer and Hesiod as performers of the Hymn to Apollo in another Life of Homer narrative
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον Ἀπόλλωνα χρυσάορον, ὃν τέκε Λητώ.
In Delos, back then at the very beginning, I and Homer, singers [aoidoi],
sang-and-danced [melpein], stitching together [rhaptein] a song in new humnoi,
making Phoebus Apollo the subject of our song, the one with the golden weapon, the one born of Leto.
In terms of the myth embedded in these verses, Homer and Hesiod collaborated with each other by producing two Hymns, that is, two humnoi—one performed by Homer and the other performed by Hesiod.
Myths about contests of Homer and Hesiod
An embedded myth about the Contest of Homer and Hesiod in the Hesiodic Works and Days
defeating god-like Homer with (my) humnos, at Chalkis
instead of
winning with (my) humnos, (I say that I) carried away (as a prize) a tripod with handles on it.
The variant verse mentioning Homer is also attested in the Contest of Homer and Hesiod (213–214), where it is part of an epigram ascribed to Hesiod, who reputedly composed it in celebration of his victory over Homer.
An embedded myth about the Contest of Homer and Hesiod in the Homeric Hymn (3) to Apollo
Homer and Hesiod as rhapsodes
Rhapsodic competition and collaboration
In such rhapsodic performance by relay, collaboration was fused with competition, since the rhapsodes competing at the Panathenaia would be expected to collaborate with each other in the process of performing, by relay, successive parts of integral compositions like the Homeric Iliad and Odyssey. [56]
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον Ἀπόλλωνα χρυσάορον, ὃν τέκε Λητώ.
In Delos, back then at the very beginning, I and Homer, singers [aoidoi],
sang-and-danced [melpein], stitching together [rhaptein] a song in new humnoi,
making Phoebus Apollo the subject of our song, the one with the golden weapon, the one born of Leto.
The word rhaptein ‘stitch together’ as used in these verses is a reference to the performances of rhapsodes, since the word rhapsōidos means, etymologically, ‘he who stitches together [rhaptein] songs [aoidai]’. [60] As for the word melpein ‘sing-and-dance’ as also used here, I need to postpone my analysis until we reach a later point in the argumentation.
This formulation applies primarily to the model of the Homeric Iliad and Odyssey as relay poetry performed by the Homēridai, but it can apply secondarily to the Homeric Hymn to Apollo, in the sense that Homer and Hesiod can be imagined as performing by relay. And, in this kind of relay performance, Homer and Hesiod would have to be collaborating with each other while they are competing with each other.
τῶν μὲν μηδὲν ἄειδε, σὺ δ’ ἄλλης μνῆσαι ἀοιδῆς.
ἅρματα συντρίψουσιν ἐρίζοντες περὶ νίκης.
yes, sing them, and, of all these things, sing nothing, but you must have in mind the rest of the song. [65]
smash up the chariots they draw as they compete for victory.
A distinction between rhapsodic and choral performance
Thucydides on choral performance by the Delian Maidens at the Delia
This description by Plutarch, composed half a millennium after the events described, still features the essential ritual concepts of hier(ei)a ‘sacrificial offerings’ and thusia ‘sacrifice, festival’.
<ναῶν> ὑμνοῦσ’ ἀμφὶ πύλας
τὸν Λατοῦς εὔπαιδα γόνον,
εἱλίσσουσαι καλλίχοροι·
παιᾶνας δ’ ἐπὶ σοῖς μελάθροις
κύκνος ὣς γέρων ἀοιδὸς
πολιᾶν ἐκ γενύων
κελαδήσω· τὸ γὰρ εὖ
τοῖς ὕμνοισιν ὑπάρχει.
A paean do the Delian Maidens
sing as a humnos around the temple gates,
singing (Apollo) the true child of Leto
as they swirl, and they have such a beautiful khoros.
I too, singing paeans at your palace,
aged singer that I am, like a swan,
from my graybearded throat,
will send forth a cry. For whatever is real
has a place to stay in my humnoi.
Thucydides on rhapsodic performance by Homer at the Delia
The performing of humnoi by the Delian Maidens and by the Muses
αὖτις δ’ αὖ Λητώ τε καὶ Ἄρτεμιν ἰοχέαιραν,
μνησάμεναι ἀνδρῶν τε παλαιῶν ἠδὲ γυναικῶν
ὕμνον ἀείδουσιν, θέλγουσι δὲ φῦλ’ ἀνθρώπων.
And after they [= the Delian Maidens] make Apollo, first and foremost, the subject of their humnos [humneîn],
and, right after him, Leto and Artemis, the one who delights in her arrows,
then they [= the Delian Maidens] take note of men and women of the past
as they [= the Delian Maidens] sing their humnos, enchanting all the tribes of humans.
{314|315} The noun humnos here at verse 161 of the Homeric Hymn to Apollo applies evidently to subjects other than the subject of gods as we see them being praised in the Homeric Hymns.
ὑμνεῦσίν ῥα θεῶν δῶρ’ ἄμβροτα ἠδ’ ἀνθρώπων
τλημοσύνας, ὅσ’ ἔχοντες ὑπ’ ἀθανάτοισι θεοῖσι
ζώουσ’ ἀφραδέες καὶ ἀμήχανοι, οὐδὲ δύνανται
εὑρέμεναι θανάτοιό τ’ ἄκος καὶ γήραος ἄλκαρ·
In the meantime (as the Muses are ascending to Olympus), they are taking turns, all of them, as they sing with their beautiful voice,
making as the subject of their humnos [humneîn] the immortalizing gifts of the gods (yes, I can see it all [95] ) and, when it comes to humans,
(they make as the subject of their humnos) the things that humans have to endure—all the things they have to deal with, since humans are under the power of the immortal gods,
and they live out their lives without the right thoughts and without the right solutions. They are unable
to discover the remedy for death and the prevention of old age.
As we can see in this passage, a humnos that begins with a divinity or divinities as its opening subject can then move on to stories of the human condition as its next subject. In Homer the Classic, I analyze at length and in detail the surviving evidence about such stories, which take the form of poetry composed in hexameters and transmitted in rhapsodic performances. [96]
A parting of ways between choral and rhapsodic performances of the humnos
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον Ἀπόλλωνα χρυσάορον, ὃν τέκε Λητώ.
In Delos, back then at the very beginning, I and Homer, singers [aoidoi],
sang-and-danced [melpein], stitching together [rhaptein] a song in new humnoi,
making Phoebus Apollo the subject of our song, the one with the golden weapon, the one born of Leto.
Here the verb melpein ‘sing-and-dance’ explicitly conveys a combination of singing and dancing. [100] So this example illustrates once again the point I made earlier, that rhapsodic as well as choral performances are highly mimetic.
Thucydides on the gap between choral and rhapsodic performances of the Homeric Hymn to Apollo
An occasion for performing a Homeric Hymn
εὐρύοπα κρείοντα τελεσφόρον, ὅς τε Θέμιστι
ἐγκλιδὸν ἑζομένῃ πυκινοὺς ὀάρους ὀαρίζει.
Ἵληθ’ εὐρύοπα Κρονίδη κύδιστε μέγιστε.
I will sing Zeus as my subject, best of the gods, and most great,
whose sound reaches far and wide, the ruler, the one who brings things to their outcome [telos], the one who has Themis
attentively seated at his side, and he keeps her company with regular frequency. {324|325}
Be propitious, you whose sound reaches far and wide, son of Kronos, you who are most resplendent and most great.
Transition
The hymnic subject
For how shall I hymn you, you who are so absolutely [pantōs] good for hymning [euhumnos]?
The theology, as it were, of this aporetic question can be formulated this way: [116]
The hymnic consequent
σεῦ δ’ ἐγὼ ἀρξάμενος μεταβήσομαι ἄλλον ἐς ὕμνον.
Hail and take pleasure [khaire], goddess, queen of well-founded Cyprus.
But, having started off from you, I will move ahead and shift forward [metabainein] to the rest of the humnos.
αὐτὰρ ἐγώ σε πρῶτα καὶ ἐκ σέθεν ἄρχομ’ ἀείδειν,
σεῦ δ’ ἐγὼ ἀρξάμενος μεταβήσομαι ἄλλον ἐς ὕμνον.
So, with all this said, I say to you [= Artemis] now: hail and take pleasure [khaire], and along with you may all the other goddesses [take pleasure] from my song.
As for me, I sing you first of all and from you do I start off [arkhesthai] to sing.
And, having started off from you, I will move ahead and shift forward [metabainein] to the rest of the humnos. [122]
σεῦ δ’ ἐγὼ ἀρξάμενος μεταβήσομαι ἄλλον ἐς ὕμνον.
χαῖρ’ Ἑρμῆ χαριδῶτα διάκτορε, δῶτορ ἐάων.
So, with all this said, I say to you [= Hermes] now: hail and take pleasure, son of Zeus and Maia.
And, having started off from you, I will move ahead and shift forward [metabainein] to the rest of the humnos.
Hail and take pleasure [khaire], Hermes, giver of pleasurable beauty [kharis], you who are conductor [of psukhai] and giver of good things.
What drives the performative gesture of khaire / khairete is the fundamental idea that the reciprocal favor of kharis is the same beautiful thing as the pleasure that it gives. To give such pleasure, I argue, is the key to success in reception. [124]
αὐτὰρ ἐγὼ καὶ σεῖο καὶ ἄλλης μνήσομ’ ἀοιδῆς.
You [= Demeter and Persephone] be favorably disposed, granting me a livelihood that fits my heart’s desire, in return for my song.
As for me, I will keep you in mind along with the rest of the song.
Other examples of this type include Homeric Hymn (3) to Apollo 545–546, Homeric Hymn (4) to Hermes 579–580, Homeric Hymn (6) to Aphrodite 19–21, Homeric Hymn (10) to Aphrodite 4–6, Homeric Hymn (19) to Pan 48–49, Homeric Hymn (25) to the Muses and Apollo 6–7, Homeric Hymn (27) to Artemis 21–22, Homeric Hymn (28) to Athena 17–18, Homeric Hymn (29) to Hestia 13–14, Homeric Hymn (30) to Gaia 17–19, Homeric Hymn (33) 18–19 to the Dioskouroi. [126]
I bring this section to a close by quoting the relevant words of Elroy Bundy: “Beginnings, middles, and ends: the meaning of literature resides in its transitions.” [128]