By Andrew Faulkner, Athanassios Vergados, Andreas Schwab
The Reception of the Homeric Hymns is a set of unique essays exploring the reception of the Homeric Hymns and different early hexameter poems within the literature and scholarship of the 1st century BC and past.
Although a lot paintings has been performed at the Hymns over the last few many years, and regardless of their significance in the Western literary culture, their impact on authors after the fourth century BC has to date bought fairly little recognition and there continues to be a lot to discover, relatively within the sector in their reception in later Greco-Roman literature and artwork. This quantity goals to deal with this hole in scholarship through discussing various Latin and Greek texts and authors around the overdue Hellenistic, Imperial, and past due vintage sessions, together with reports of significant Latin authors, resembling Virgil, Horace, and Ovid, and Byzantine authors writing in classicizing verse.
While a lot of the booklet bargains with classical reception of the Hymns, together with having a look past the textual realm to their impression on artwork, the editors and participants have prolonged its scope to incorporate dialogue of Italian literature of the 15th century, German scholarship of the 19th century, and the English Romantic poets, demonstrating the iconic legacy of the Homeric Hymns within the literary world.
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See J. L. Lightfoot, Dionysius Periegetes: Description of the Known World (Oxford, 2014), 35; 308 on Perieg. Ap. 279 οἳ Διὸς οὐκ ἀλέγοντες ἐπὶ χθονὶ ναιετάασκον, and 380 on Perieg. Aphr. 261 χορὸν ῥώσασθαι. 78 24 The Reception of the Homeric Hymns Homeric Hymns and describes this process as a ‘transposition’, suggesting that Lucian parodies not only the gods themselves, but also the praise rhetoric that is echoed in the major Homeric Hymns. In Chapter 9, A. Vergados explores the evidence in Aelius Aristides’ prose hymns that he knew the Homeric Hymns.
Voss was responsible for the ﬁrst Latin translation of the Hymn and among the ﬁrst who translated the text into German, but he also dared to write the ﬁrst commentary on the poem in German. Schwab explores how Voss approached the ‘Eleusinian document’ with the particular concerns of his time. 3 Better I think would be to use the term ‘representation’ of a story that is equally inﬂuenced 1 M. Squire, Image and Text in Greco-Roman Antiquity (Cambridge, 2009), 15–193, offers a penetrating analysis and critical history of this issue.
78 We can be certain that Proclus was familiar with the Hymns, but evidence for reception elsewhere in these periods is more delicate. There seem to be traces of the Hymns in Late Antique and Christian classicizing poetry, and G. Agosti suggests that they may have formed part of the school curriculum in this period. 470 BC) depicts a boy holding a papyrus roll, on which is written the opening of Hymn 18 (Ἑρμῆν ἀείδω), a possible indication of school use. Oxy. 4667 quotes lines 4–18 of Hymn 18 and lines 1–11 of Hymn 7 to Dionysus, in that order with two lines of prose in between.
The reception of the Homeric Hymns by Andrew Faulkner, Athanassios Vergados, Andreas Schwab