Pub Date : 2021-09-29DOI: 10.1093/oso/9780197552971.003.0002
C. Faraone
This chapter presents a series of “soundings” of short hexametrical genres. The aim is to investigate the following: (i) how the Homeric poet, in Hector’s description of the burial mound of his antagonist, plays with his audiences’ expectations of the generic and preexisting form of the hexametrical epitaph and how both he and the Hesiodic poet use the hypothêkê, a traditionally hexametrical form of avuncular advice in the Homeric speeches of elders like Peleus or in the Hesiodic address to Perses; (ii) how a mimetic poem composed by Theocritus helps us to imagine the performance context of some fragments of Sappho’s “wedding poems” as epithalamia in hexameters composed in ten-line stanzas and chanted before the door of newlyweds; and (iii) how the short poems embedded in the Pseudo-Herodotean Life of Homer reflect the rich array of short hexametrical performances.
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Pub Date : 2021-09-29DOI: 10.1093/oso/9780197552971.003.0004
C. Faraone
This chapter argues that the instructional oracle was a short hexametrical genre known to the Homeric poet and that he used it to frame the detailed instructions that Circe and Tiresias give Odysseus in the Iliad. It offers a close reading of the two parts of Circe’s advice to Odysseus and compares Circe’s advice with that offered to the initiate in the “Orphic” gold tablets and to Odysseus by Nausicaa in Odyssey 6. It examines, as well, the prophetic speeches of Tiresias in Odyssey 11 and of Eidotheia and Proteus in Odyssey 3, in order to show how the doubling of the prophetic scenes in both places seems to diminish the authority of the local female speaker, in order to get the more panoramic and indeed Panhellenic viewpoints of Proteus and Tiresias. It closes by discussing the instructional oracles of the Erythraean Sibyl and suggests that she and the hexametrical oracles attributed to her were local models for Circe and her instructions to Odysseus.
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Pub Date : 2021-09-29DOI: 10.1093/oso/9780197552971.003.0005
C. Faraone
This chapter argues that incantation was another shorter hexametrical genre and it is framed around the description of the powers of Helen’s pharmakon in Odyssey 4. It shows that the key to understanding this enigmatic passage is the realization that the word pharmakon can refer to both an herbal drug that harms or heals the human body and to a verbal incantation that harms or heals the human mind or soul. It argues that the six-line boast about the power of Helen’s pharmakon reflects and perhaps even quotes a hexametrical incantation originally chanted in dactylic hexameters over wine and it surveys the ancient evidence for verbal pharmaka from Empedocles to Plato as well as the evidence for early hexametrical charms. It closes with a discussion of Theocritus’ mimetic Idyll 2 and a series of contemporary Hellinistic curse tablets that display many of the same features.
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Pub Date : 2021-09-29DOI: 10.1093/oso/9780197552971.003.0003
C. Faraone
This chapter discusses hexametrical hymns in the archaic period that were closely tied to local rituals, such as processions, sacrifices, libations and so forth, that focused on epichoric deities and that detailed the interactions between the gods and men and how good relations might be established between them. The discussion is framed around the well-known Chryses episode in the Iliad and argues that a good deal of the first book of the poem—how Agamemnon insults Apollo’s priest, how the god responds with the widespread slaughter of the Greeks, and how eventually the god is mollified—was originally composed as a freestanding hexametrical hymn to Apollo designed for performance in the local sanctuary of Apollo Smintheus on the Troad. The chapter focuses on the unanticipated paean-singing at Chryse and the two variant proems to an “older Iliad” that seem to reflect an earlier stage of composition, in which the poem began by focusing on the anger of Apollo (a common theme, for a local hymn), rather than the anger of Achilles, and discusses a variety of other cases in which shorter epichoric hymns seem to have been embedded into Panhellenic narratives: the so-called “Hymn to the Muses” at the start of the Hesiodic Theogony, the Eleusinian episode at the heart of the Homeric Hymn to Demeter, or the Delian and Crisaean sections of the Homeric Hymn to Apollo.
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Pub Date : 2021-09-29DOI: 10.1093/oso/9780197552971.003.0006
C. Faraone
This chapter argues that the shorter laments in the Iliad of Briseis in Book 18 and the Trojan women in Book 2, reflect the existence of a hexametrical genre of lament that women sang both in funerals and at the annual celebration of the Adonia, a festival devoted to the mourning, along with Aphrodite, the dead Adonis.
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