The Homeric Hymns | Page 2

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
Pisistratidae 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
Pisistratidae. The Hymn to Aphrodite is just such a lay as the Phaeacian
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 [Greek text],
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 Phaeacians 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.
In the essays which follow, the religious aspect of the Hymns is chiefly
dwelt upon: I endeavour to bring out what Greek religion had of human
and sacred, while I try to explain its less majestic features as no less
human: as derived from the earliest attempts at speculation and at
mastering the secrets of the world. In these chapters regions are visited
which scholars have usually neglected or ignored. It may seem strange
to seek the origins of Apollo, and of the