The Four Greek Hymns of Isidorus and the Cult of Isis

1974 ◽  
Vol 60 ◽  
pp. 284
Author(s):  
J. Gwyn Griffiths ◽  
Vera Frederika Vanderlip
Keyword(s):  
Greek Hymns

Greek Hymns: Selected Cult Songs from the Archaic to the Hellenistic Period

2005 ◽  
Vol 98 (3) ◽  
pp. 356 ◽  
Author(s):  
Sarah Iles Johnston ◽  
William D. Furley ◽  
Jan Maarten Bremer
Keyword(s):  
Hellenistic Period ◽  
Greek Hymns

Greek Hymns

2020 ◽  
Author(s):  
William Furley ◽  
Jan M. Bremer
Keyword(s):  
Greek Hymns

Praise and persuasion in Greek hymns

1995 ◽  
Vol 115 ◽  
pp. 29-46 ◽  
Author(s):  
William D. Furley
Keyword(s):  
Fourth Century ◽  
Epic Poetry ◽  
Authentic Material ◽  
Religious Ritual ◽  
Homeric Hymns ◽  
Basic Model ◽  
Religious Feeling ◽  
Greek Hymns ◽  
The Way

Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and the works themselves were by a diversity of authors, some well-known, some obscure, making the collection of their ‘hymns’ a difficult task for the Alexandrian compilers. Some such hymns were traditional—Olen's at Delos, for example — handed down orally from generation to generation; others were taught to a chorus for a specific occasion and then forgotten. Nor do the surviving corpora of ‘hymns’ — I refer to the Homeric Hymns, Callimachus' six hymns, and the Orphic Hymns—go very far to satisfy our curiosity as to the nature of this ubiquitous hieratic poetry. The Homeric Hymns would seem to have been preludes (προοίμια) to the recitation of epic poetry; they are in the same metre and style as epic, and the singer usually announces that he is about to commence another poem on finishing the hymn. Their content may give us authentic material about a god and his attendant myths, but the context of their performance seems distinct from worship proper. The Homeric Hymns provided the basic model for Callimachus' hymns although it is clear that he adapted the model to permit innovations such as the mimetic mode of hymns 2, 5 and 6, which present an eye-witness account of religious ritual. Some find Callimachus' hymns lacking in true religious feeling; few seriously maintain that they were intended, or could have been used, for performance in cult.

Greek Hymns

1926 ◽  
Vol 150 (9) ◽  
pp. 159-159
Author(s):  
L.R.M. Strachan
Keyword(s):  
Greek Hymns

The Four Greek Hymns of Isidorus and the Cult of Isis

1975 ◽  
Vol 96 (1) ◽  
pp. 104
Author(s):  
Roger A. Pack ◽  
Vera Frederika Vanderlip
Keyword(s):  
Greek Hymns

scholarly journals Ancient World of the Poet and Performance in Translations by Ants Oras

2015 ◽  
Vol 2 (2) ◽  
pp. 73-101
Author(s):  
Janika Päll
Keyword(s):  
World Literature ◽  
Greek Text ◽  
Special Focus ◽  
Ancient Greek ◽  
Homeric Hymns ◽  
Performance Context ◽  
Third Person ◽  
Greek Hymns ◽  
And Performance ◽  
The Third Person

This paper studies the means by which Ants Oras, scholar and professor of English and world literature, literary critic and translator, recreates the poetic space of ancient Greek hymns in his translations. The paper analyses his use of deictics (local, personal and temporal) in his translations of three Homeric Hymns: the 1st part of Hymn No. 3, to Delian Apollo, the Hymn No. 19, to Pan, and especially Hymn No 5 to Aphrodite. The special focus is on the initial and final parts of the hymns, where the Greek text reflects performance context, whereas Oras presents the poems in a more general, hymnal setting, leaving out the references which reveal the function of these hymns as epic prooemium.The analysis of the deictics within the Hymn to Aphrodite reveals that Oras does not adhere strictly to the third person viewpoint of the narrator (as opposed to first person in direct speeches of the characters), but enlivens his narration by frequent deictics which refer to narrator’s viewpoint, the poet’s ‘I’, or ‘here’ and ‘now’. This can only be occasionally explained with metrical reasons (preference to use monosyllabic deictics). This pattern of enlivening is in accordance to other practices, used by Oras in these translations: frequent personification of impersonalia (flight, mind) and multiplication of actors (objects of action becoming subjects, passive constructions turned active, and so on).

scholarly journals W.D. Furley, J.M. Bremmer, Greek Hymns

Kernos ◽  
2003 ◽  
pp. 374-375
Author(s):  
Danièle Aubriot-Sévin
Keyword(s):  
Greek Hymns

Greek Hymns

1926 ◽  
Vol 150 (9) ◽  
pp. 158-159
Author(s):  
D. O. Hunter Blair
Keyword(s):  
Greek Hymns

The Four Greek Hymns of Isidorus and the Cult of Isis

Phoenix ◽  
1974 ◽  
Vol 28 (2) ◽  
pp. 271
Author(s):  
Tran Tam Tinh ◽  
Vera Frederika Vanderlip
Keyword(s):  
Greek Hymns
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