THE SHORTER HOMERIC HYMNS

Introduction:

The Homeric Hymns are a collection of thirty-three anonymous ancient Greek hymns celebrating individual gods, mostly dating to the seventh century B.C., shortly after the works of Homer and Hesiod had first been written down, and they are therefore among the oldest monuments of Ancient Greek literature. In antiquity they were uncritically attributed to Homer, the earliest reference to them coming from Thucydides (see Bk III. 104). Although it is now clear they were not written by Homer, they were composed in the old epic style, i.e. in dactylic hexameters, and in a dialect closely resembling that of Homer. Most of them are very short, if not fragmentary, but four of them, i.e. hymns 2-5, are more lengthy: (2) to Demeter 495 lines; (3) to Apollo 546 lines; (4) to Hermes 580 lines; and (5) to Aphrodite 293 lines. Translations of these four longer Homeric Hymns are available as items on this blog, dated as follows: Demeter: 11 June 2019; Aphrodite: 7 April 2020; Apollo: 1 August 2020; and Hermes: 12 November 2020. Translations of the other shorter Homeric Hymns (No. 1 and Nos. 6-33) are now offered below. The text for these translations is taken from "Homeric Hymns", edited by Hugh G. Evelyn-White, Harvard University Press, published by William Heinemann, London (1914), and is available on the 'Perseus' website, sponsored by the Classics Department of Tufts University.  

 1) TO DIONYSUS - Εἲς Διώνυσον.

(The subject of the first, albeit fragmentary, Homeric Hymn is Dionysus (known to the Romans as Bacchus), the god of wine, vineyards, the theatre and dramatic poetry. His mother, Semele, the daughter of Cadmus, the legendary founder king of Thebes, who had been made pregnant by Zeus, was tricked by his wife Hera into asking Zeus to reveal himself in his true form. This he felt compelled to do because he had previously promised Semele to grant her whatever she requested. As a result Zeus burst into flames and this heavenly fire consumed Semele. Zeus then rescued the premature Dionysus from his mother's womb and sewed him into his thigh to complete his gestation. Thus Dionysus was born twice, once from his divine mother, and then from the thigh of his divine father. Thus the epithet 'εἰραφιῶτης' given to Dionysus (see ll. 2, 17, 20 below) appears to mean 'insewn', although other etymologies are possible.  

Hymn 1 was originally much longer, it is thought, perhaps as long as Hymns 2-5. Now, however, only two fragments survive: the first nine lines probably came at the beginning, although some words may be missing before line 1; and the last lines were probably the ending of the original hymn.)  

Ll. 1-9.  Dionysus' possible birthplaces.

... for some say that pregnant Semele bore you to thunder-loving Zeus at Draconon (i.e. a promontory on Cos, an island in the Mediterranean just off the south-west coast of the present-day Turkey) and some in woody Icarus (i.e. an island in the East Aegean Sea, to the west of Samos), and some in Naxos (i.e. a large island in the Cyclades in the Aegean Sea), (O) heaven-born Eiraphiotes (i.e. this probably means 'insewn'), and others by the deep-eddying river Alpheus (i.e. a river in the Western Peloponnese, near Olympia); and others say that you, lord, were born in Thebes (i.e. the city in Boeotia, generally regarded as Dionysus' birthplace); (they are all) lying; for the father of men and of gods (i.e. Zeus) begat you far away from mankind (and) hidden from white-armed Hera. Now there is a certain Nysa (i.e. adjacent to the mouths of the Nile), a most high mountain abounding in woods, far from Phoenicia (i.e. a region on the east coast of the Mediterranean, north of Israel), (and) near the streams of Egypt,

(some lines are missing)

Ll. 10-21.  Zeus proclaims regular festivals to Semele.

"... and they will raise many statues (to you) (i.e. Semele) in your temples. And, as these (things are) three (i.e. a reference to something in the body of the hymn, now lost), men will always sacrifice complete hecatombs (i.e. a hundred oxen) to you every three years."

The son of Cronos (i.e. Zeus) spoke, and nodded with his dark brows; and so the king's heavenly locks streamed down from his head; and he made great Olympus quake. So Zeus the counsellor spoke and nodded his head. 

Be gracious, Eiraphiotes (n.b. the meaning of this epithet of Dionysus is obscure), mad about women (i.e. groups of women, known as 'maenads' were possessed by Dionysus with religious frenzy); now we minstrels sing of you, as we begin and end (our song); nor is there any way to forget you and be mindful of sacred song. And so, hail to you, Dionysus Eiraphiotes, together with your mother Semele, whom some call Thyone. 

6) TO APHRODITE - Εἲς Ἀφροδίτην. 

(This short hymn in honour of Aphrodite, the Goddess of Love, (known to the Romans as Venus,) follows immediately after the long hymn of 293 lines composed in her honour. It was clearly composed for a singing contest (see ll. 19-20 below), but there are no indications of its date or of where it was written. It is possible it came from Cyprus, but the reference to Cyprus in l. 2 could be purely literary in its significance.)

I shall sing of revered Aphrodite, gold-crowned and beautiful, who has obtained as her abode the walled cities of all of Cyprus, where the moist force of the hard-blowing Western Wind bore her (i.e. from her birthplace at Cythera) in soft foam over the waves of the loud-roaring sea; and the gold-filleted Hours (i.e. the goddesses of the seasons and the keepers of the Gates of Olympus) welcomed her gladly and placed heavenly garments around (her); and on her immortal head they put a golden crown, well-wrought and beautiful; and in her pierced ear-lobes (they placed) ornaments of fine copper and precious gold; and around her tender neck and her silver-white breasts, they adorned (her) with golden necklaces, such as the gold-filleted Hours are indeed adorned with, whenever they go the lovely dances of the gods and their father's house.  

And, when they had placed every (kind of) ornament around her body, they brought (her) to the immortals; and they saw (her) and welcomed (her) and offered (her) their right-hands in greeting, and each (one of them) prayed that he might lead her to his home to be his wedded wife, (so) amazed were they at the beauty of violet-crowned Cytherea. 

Hail, you sweet-winning (goddess) with the fluttering eyes; and grant that I may gain the victory in this contest, and furnish my song with grace. But I shall remember you, and another song also. 

7) TO DIONYSUS - Εἲς Διώνυσον. 

(This is the second of three poems concerning Dionysus, the God of Wine, (known to the Romans as Bacchus,) in the collection of Homeric Hymns, and, at 59 lines, it is also by far the longest. The story of Dionysus and the pirates, which is the subject of this hymn, is a favourite theme in classical literature, as is the transformation of men, who have fallen into the sea, into dolphins. Although it has been suggested that the date of this poem is as late as the third or fourth century B.C., there is no good reason to separate it from the seventh century date of most of the collection. As to the location of its composition, both Athens, (in connection with a festival of Dionysus,) and Naxos have been suggested as possibilities.) 

Concerning Dionysus, the son of glorious Semele, I shall recall how he appeared by the shore of the barren sea on a jutting headland looking like a young man in the prime of youth; his fine dark hair was bobbing up and down, and around his strong shoulders he had a purple cloak; and presently some men came forward swiftly over the wine-dark sea on their well-benched ships, Tyrsenian (n.b. the Tyrsenians were ancient Pelasgic, or non-Hellenic, inhabitants of Thrace) pirates (they were), and, when they saw (him) they beckoned to one another, and jumped out at once. Then, they seized (him) quickly, and took (him) aboard their ship, rejoicing in their hearts. For they thought he was the son of kings nurtured by Zeus, and they sought to bind (him) with grievous shackles. But the shackles did not hold him, and the bonds fell far away from his hands and feet; and he sat (there) with his dark eyes, smiling; but the helmsman saw (it) and at once understood (what it meant), and cried out to his comrades: "(You) madmen, what god is this, strong (as he is), whom you have seized and bound? Not even our well-made ship can carry him. For surely this is Zeus, or Apollo with his silver bow, or Poseidon; for (he is) not like mortal men, but (like) the gods who have their dwellings on Olympus. But come, let us set him free on the dark mainland; but do not lay hands on (him), lest he is provoked in some way, and stirs up harsh winds and a heavy storm."

So he spoke; but the captain rebuked him with words of malice: "Keep your eye on the wind, (you) fool, and haul up the ship's sails with (me), and take up the ropes all at once; furthermore, this (fellow) will be seen to by (us) men. I expect he will come to Egypt, or Cyprus, or to the Hyperboreans (i.e. the people of the extreme north), or even further afield; but, in the end, he will tell us at some time of his friends, and of all his possessions and his brothers, since fate has thrown (him) in our (path)."  

When he had spoken, he hoisted the mast and the mainsail on to the ship. Then, the wind swelled the middle of the sail, and the (crew) made fast the ropes on all sides; but soon wondrous works appeared. First of all, a sweet fragrant wine flowed babbling away through the swift black ship, and a heavenly odour arose; and amazement seized hold of all the sailors who saw (it). And immediately a grape-vine spread out in all directions across the top of the sail, and many clusters of grapes hung down (from it); and a dark ivy-plant entwined itself around the mast, blooming with flowers, and lovely fruit grew on (it); and all the thole-pins had wreaths; and then those that saw (these things) bade the helmsman bring the ship in to land; then, the (god) turned himself into a terrible lion, there in the bows of the ship, and it roared loudly, and in the middle (of the ship) he created a bear with a rough shaggy neck, such portents did he show; and it stood up, raging ravenously; and on the top deck the lion scowled fiercely; and the (crew) fled into the stern, and in their terror they stood around the helmsman, who had a sound mind; and suddenly it sprang upon the captain and seized (him), and, when they saw (this), the (sailors) all jumped overboard together into the shining sea to escape an evil fate, and they became dolphins; but he showed mercy to the helmsman and held (him) back and made him truly happy, and said these words (to him): "Take courage, good sir, you who are dear to my heart, for I am the loud-shouting Dionysus, whom my mother, Cadmus' daughter Semele, brought into this world, having joined in love-making with Zeus."

Hail, (you) child of fair-faced Semele! It is not possible for anyone who is forgetful of you to compose sweet song (viz. the similar conclusion of Hymn 1 above).  

8) TO ARES - Εἲς Ἄρεα.

(This short hymn to Ares, the God of War, (known to the Romans as Mars,) seems out of place as a Homeric Hymn, and seems more akin to the collection of Orphic Hymns of the Late Hellenistic Age.) 

(O) mighty Ares, chariot-laden, golden-helmeted, stout-hearted, shield-bearer, guardian of cities, strong of hand, untiring, mighty with a spear, bulwark of Olympus, father of Nike (i.e. Goddess of Victory), (who is) successful in war, ally of Themis (i.e. Goddess of Justice), master of the unruly, leader of the most righteous of men, bearing the staff of manliness, whirling your fiery-red orb among the constellations in the sevenfold tracks of the sky, where the blazing foals ever bear you above the third orbit of the heavens; hear (me), (you) helper of mortals, (you) dispenser of undaunted youth, (you who is) bearing from above a gentle ray of light on my life and my martial vigour, so that I can drive away bitter cowardice from my head, and crush the deceptive impulse in the thoughts of my mind; hold back too the sharp fury of my heart, which provokes me to embark upon the chilling cry of battle; but do you give (me) the courage, (O) blessed (one), to stay within the kindly laws of peace, so as to avoid the hostile din of battle and a violent death.  

9) TO ARTEMIS - Εἲς Ἄρτεμις.

(From the references to the Meles, Smyrna and Claros, this short hymn to Artemis, the virgin Goddess of Hunting, (known to the Romans as Diana,) almost certainly has its location in Ionia.)

Sing of Artemis, Muse, sister of the Far-Shooter (i.e. Apollo), a virgin delighting in arrows, bred together with Apollo, and she waters her horses in the Meles (i.e. a river in Smyrna), thick with rushes, and drives her chariot, made completely of gold, swiftly through Smyrna to Claros, rich in vines, where Apollo, with his silver bow, sits waiting for the far-shooting (maiden) who delights in arrows. And so, do you delight in my song, together with all of the goddesses; but first I begin to sing to you and of you, and, having begun with you, I shall move on to another hymn.  

10) TO APHRODITE - Εἲς Ἀφροδίτην.

(This fragmentary hymn is the third Homeric Hymn composed in honour of Aphrodite, the Goddess of Love, known to the Romans as Venus. Like its parallel, Hymn 6, it was the prelude to a song recited at a singing contest. Despite the mention of Cyprus on two occasions in these lines, there is no reason to think it originated there.)

I will sing of the Cyprus-born lady of Cythera, who gives her gracious gifts (i.e. beauty) to men, and always has a lovely smile on her face, and over (it) there shines a lovely bloom. Hail, goddess, ruler of well-built Salamis, and sea-girt Cyprus; grant (me) a charming song. But I shall be mindful both of you and of another song. 

11) TO ATHENA - Εἲς Ἀθηναν.

(As this fragmentary hymn does not end with the rhapsodic transitional formula, it is unlikely that it was the prelude to a recitation at Athens or anywhere else. In any case, the cult of Pallas Athena was common to many Greek cities.) 

Of Pallas Athena, guardian of cities, I begin to sing, dread (goddess), to whom, together with Ares, deeds of war, the sacking of cities, the war-cry and battles are matters of concern, and she protects the host, as it comes and goes. Hail goddess, and grant us good fortune and happiness.  

12) TO HERA - Εἲς Ἥραν.

(This fragmentary hymn to Hera, Queen of the Gods, known to the Romans as Juno, is unique among the Homeric Hymns in that, apart from No 8, which is different in other respects, it has no farewell verse or concluding address to the deity it is honouring. It may well have been the prelude to a longer poem.)

I sing of golden-throned Hera, whom Rhea bore, queen of the immortals, possessing a beauty unsurpassed, sister and wife of loud-thundering Zeus, glorious (lady), whom all the blessed (ones) throughout high Olympus revere and honour like (they do) Zeus, who delights in thunder.  

13) TO DEMETER - Εἲς Δημήτραν.

(This fragmentary hymn is addressed to Demeter, the Goddess of Agriculture, known to the Romans as Ceres, and to her daughter Persephone, known to the Romans as Proserpina, and stems from the longer poem to Demeter (see No. 2). It is obviously the prelude to a recitation. The city she is asked to save may well be Athens.)

I begin to song of the lovely-haired Demeter, the revered goddess, of herself and of her daughter, the very beautiful Persephone. Hail, goddess; save this city and guide my song.   

14) TO THE MOTHER OF THE GODS - Εἲς Μητέρα Θεῶν.  

(The Mother of the Gods was widely worshipped throughout Greece from ancient times and was identified with Rhea, the mother of Zeus, and with the Asiatic Cybele.) 

Sing to me, clear-voiced Muse, daughter of great Zeus, of the Mother of all Gods and all men, to whom the noise of rattles and drums, together with the sound of flutes, was pleasing, as were the cry of wolves and fierce lions, and the echoing hills and wooded water-courses. And so hail to you in my song, and to all the goddesses as well.  

15) TO HERACLES THE LION-HEARTED - Εἲς Ἡρακλέα Λεοντόθυμον.

(While the epithet 'Lion-Hearted' is not assigned to Heracles, known to the Romans as Hercules, in any other work of classical literature, this has no particular significance. Some think this hymn may derive from Attica.) 

I will sing of Heracles, son of Zeus, the mightiest (man) upon the earth, whom Alcmena bore in that beautiful place, Thebes, after she had lain with the cloud-wrapt son of Cronos; he once used to wander over enormous (tracts of) land and sea at the bidding of king Eurystheus (i.e. the king of Tiryns who imposed the Twelve Labours upon Heracles), and he himself accomplished many violent (deeds) and endured many; but from now on he lives happily in the lovely abode of snowy Olympus, and has Hebe with her lovely ankles (as his wife). Hail, lord, son of Zeus; grant (me) virtue and happiness.

16) TO ASCLEPIUS - Εἲς Ἀσκληπιόν.

(Asclepius, known to the Romans as Aesculapius, was the God of Healing, and the son of Apollo. This fragment is clearly the prelude to a longer song.)

I begin to sing of Asclepius, son of Apollo, (and) healer of sicknesses, to whom fair Coronis, the daughter of king Phlegyas, gave birth on the Dotian plain; a source of great joy to men (he was), (and) a soother of evil pains. And so hail to you, lord; to you I pray in my song.  

17) TO THE DIOSCURI - Εἲς Διοσκούρους.

(This poem is addressed to the Dioscuri, the 'Twins' of Leda, Castor and Polydeuces, known to the Romans as Pollux. This poem is clearly an abbreviation of the longer Homeric Hymn to the Dioscuri (see No. 33), and is clearly not a prelude to a longer hymn, as there is no transitional verse. They are called the Tyndaridae, or Tyndarids, as their legal father was Tyndareus, King of Sparta. According to one version of the myth only Polydeuces was the son of Zeus, and Castor was the actual son of Tyndareus. In the same way, of their sisters, Helen was the daughter of Zeus, and Clytemnestra the daughter of Tyndareus.)   

Sing, (you) clear-voiced Muse, of the Tyndarids Castor and Polydeuces, who were born of Olympian Zeus; queenly Leda bore them beneath the heights of Taÿgetus, after she had been secretly overcome by the cloud-wrapt son of Cronos. Hail, (you) sons of Tyndareus, (you) who mount swift steeds. 

18) TO HERMES - Εἲς Ἑρμῆν.

(As in the case of the previous hymn to the Dioscuri, this short hymn is clearly an abbreviation of the longer hymn, No. 4, to Hermes, the Messenger of the Gods, known to the Romans as Mercury.  The final line is a somewhat curious addition to line 10, which is the formulaic ending to a prelude, and it may therefore be a later interpolation.) 

I sing of Cyllenian Hermes, the slayer of Argus (i.e. the hundred-eyed giant, who was guarding Io, the nymph whom Zeus had transformed into a heifer, in the sanctuary of Hera), lord of Cyllene (i.e. the mountain in Arcadia where Hermes was born), and of Arcadia, rich in sheep, the luck-bringing messenger of the immortals, whom Maia, the daughter of Atlas, brought to birth, modest (though she was); and she shunned the throng of the blessed gods, living in a shadowy cave; there the son of Cronos used to lie with the lovely-haired nymph at dead of night, when sweet sleep encompassed the white-armed Hera; and she escaped the notice both of the immortal gods and of mortal men.   

And so, hail to you, son of Zeus and Maia; having begun with you, I, (now) turn to another hymn. Hail, Hermes, giver of grace, guide and giver of good (things).  

19) TO PAN - Εἲς Πᾶνα.

(With its 49 lines, the hymn to Pan, known to the Romans as Faunus, God of the Countryside, Shepherds and Flocks, is the second longest of the shorter Homeric Hymns, and its freshness and charm make it most attractive to read. Since the god Pan does not appear in Greek art until the Fifth Century B.C. and there are references to Pan in the works of Homer or Hesiod, the date of its composition must be considerably later than most of the works in the collection of Homeric Hymns. Its place of composition may well be Arcadia,  a district of mountain people which was always the principal centre of his worship. On the other hand, it may have been composed in Athens, where Pan became a favourite after the Battle of Marathon in 490 B.C., when his cult was first officially organised.)   

Tell me, Muse, about the dear child of Hermes, the goat-footed, two-horned, noise-loving (one), who roams through wooded meadows, together with nymphs accustomed to the dance, who tread on the crest of some sheer cliff, calling upon Pan, the shepherd's god, long-haired (and) unkempt (as he is), who has in his possession every snowy ridge, mountain top and rocky peak. He roams hither and thither through the dense thickets; at one moment (he is) lured by gentle streams, and at another he makes his way among towering crags, and climbs up to the highest peak from which to watch the sheep. Often he courses over the high glistening mountains, and often he goes across the mountain slopes, slaying wild beasts, sharp-sighted (as he is); then, as he returns from the chase at evening only, he makes a sweet song on his playful pipes; nor could she surpass him in melody, that bird, who, when she pours forth her lament amid the leaves of the blossoming springtime, utters her honey-sweet song. At that time, the shrill-singing mountain Nymphs roam around with him nimbly on their feet, and sing beside the spring of black water; and Echo wails around the mountain top. And dancing here and there, the god then moving slowly into the midst, plies nimbly on his feet, and on his back he wears the shabby hide of a lynx, and he rejoices in his heart in high-pitched songs in the soft meadow, where crocus and fragrantly blooming hyacinth mingle in a disorderly fashion in the grass. They sing of the blessed gods and high Olympus; and I wish to tell you of such (a one) as luck-bringing Hermes, excelling (all) the others, how he is the speedy messenger of all the gods, how he came to Arcadia with its many springs, the mother of the flocks, where is his Cyllenian demesne. For there, though he was a god, he was putting out to graze shaggy-shared sheep in the service of a mortal man, for there came upon (him) the languishing desire to be joined in love-making to the lovely-haired daughter of Dryops (i.e. Dryope); and so he brought about a happy marriage. Then, she bore Hermes a dear son in her halls, and from birth he was a marvel to behold, with his goats' feet (and) his two horns, the noise-loving, sweet-laughing (child that he was); but his mother sprang up and fled, and so she left the child, for she was afraid when she saw his uncouth and well-bearded appearance. Then did luck-bringing Hermes take him and put (him) in his arms; and the god rejoiced greatly in his heart. And he went swiftly to the seats of the immortals, covering his child in the compact skins of mountain hares, and set (him) down beside Zeus and showed his son to the rest of the immortals, and then all of the immortals were glad at heart, and Bacchic Dionysus, especially, and they called him Pan, because he delighted the hearts of (them) all. And so to you, Lord, I am propitiating you with a song, but I shall be mindful both of you and of another song.  

20. TO HEPHAESTUS - Εἲς Ἥφαιστον.

(This hymn is dedicated to Hephaestus, known to the Romans as Vulcan, God of Fire, Forges and Handicraft. The fact that Athena is mentioned together with him at the beginning of the poem suggests that it could have been composed in Athens, as that city was the home of a common cult to these two deities, who were worshipped as patrons of all arts and crafts.)

Sing, clear-voiced Muse, of Hephaestus, renowned for his skill in handicraft, who together with bright-eyed Athene taught glorious works to men on earth, even (to men) who in former times used to dwell in caves in the mountains like wild beasts. But now, having learned their crafts through Hephaestus, renowned for his art, they easily pass a life free of anxiety in their own homes for the space of a whole year. 

But be gracious, Hephaestus, and grant me skill and happiness. 

21. TO APOLLO - Εἲς Ἀπόλλωνα. 

(For information about Apollo, please see the introduction to the translation of Homeric Hymn No. 3, on this blog, dated 1 August 2020.) 

Phoebus (i.e. the epithet that regularly precedes the name of Apollo), of you, even the swan sings in a clear voice through the flapping of his wings, as he alights on the bank beside the eddying river Peneus (i.e. the name of a river in Thessaly, mentioned in Book II of the 'Iliad', or perhaps of a river of the same name in Elis in the Peloponnese); and to you does the sweet-sounding minstrel always sing with his shrill lyre both first and last. And so, hail to you. lord, and I propitiate you with my song. 

22. TO POSEIDON - Εἲς ποσειδῶνα.

(This hymn may be a prayer for the safety of sailors at sea, rather than the prelude to a longer song, although the beginning does perhaps suggest the latter. The Helicon referred to in line 3, could be the Boeotian mountain of that name, but it is more likely to refer to Helice, a town in Achaea on the Corinthian Gulf in the northern Peloponnese, which, together with its neighbouring town, Aegae, is mentioned in Book VIII of the 'Iliad' as sacred to Poseidon, the God of the Sea, known to the Romans as Neptune.) 

I begin to sing about Poseidon, the great god, mover of the earth and the barren sea, (god of) the deep, who (also) holds Helicon and wide Aegae. A twofold office the gods allotted you, (O) Earth-shaker, to be a tamer of horses and a saviour of ships. Hail, Poseidon, earth-mover, dark-haired (god), and succour the mariners, (O) blessed (one), with a kindly heart. 

23. TO THE MOST HIGH SON OF CRONOS - Εἲς Ὕπατον κρονίδην.

(The reference to Themis, the Goddess of Justice, indicates that this fragmentary hymn is addressed to Zeus, known to the Romans as Jupiter, in his capacity as God of Law and Righteousness.)

I will sing of Zeus, the chief and the greatest of the gods, the far-seeing lord, the fulfiller, who speaks words of wisdom to Themis, who sits leaning towards (him). Be gracious, (O) far-seeing son of Cronos, the noblest and the greatest. 

24. TO HESTIA -  Εἲς Ἑστίαν.

(This hymn is addressed to Hestia, daughter of Cronos and Rhea, and sister of Zeus, Goddess of the Hearth and Home, known to the Romans as Vesta. The reference to Pytho reflects Hestia's close connection to her nephew Apollo's sacred enclosure at Delphi, where sacred fire was permanently maintained by widows at her Hearth in the Prytaneum. Many think this is a fragment of a longer hymn.)

Hestia, (you) who tends the sacred house of Apollo the Far-shooter at sacred Pytho, moist olive-oil is ever dripping from your locks. Come into this house, come with one mind together with Zeus, wise in counsel, and at the same time bestow grace on my song.

25. TO THE MUSES AND APOLLO - Εἲς Μούσας Καὶ Ἀπόλλωνα.

(There is also a reference to the joint worship of Apollo and the Muses on line 450 of Homeric Hymn 4, addressed to Hermes.)

I will begin with the Muses, and Apollo and Zeus; for (it is) through the Muses and Apollo the Far-shooter (that) there are men on the earth who sing and play the lyre, but through Zeus (there are) kings; fortunate is he, whomever the Muses love; his voice flows sweetly from his mouth. Hail, children of Zeus, and honour my song; but I shall be mindful of you and of another song.

26. TO DIONYSUS - Εἲς Διόνυσον.

(This hymn was no doubt composed for some festival of Dionysus. According to Homeric Hymn 1, also dedicated to Dionysus, Nysa, the place where Dionysus was reared, was in Phoenicia.)

I begin to sing of loud-shouting Dionysus, crowned with ivy (as he is), the splendid son of Zeus and renowned Semele, whom the lovely-haired Nymphs took to their bosoms from the lord, their father, and nurtured and zealously reared in the vales of Nysa; and by the grace of his father he grew up in a sweet-smelling cavern, being reckoned among the immortals. But, when the goddesses had raised him to sing a lot, then he began to go backwards and forwards through the wooded glades, wreathed with laurel and ivy; and the Nymphs used to follow after (him), and he became their leader; and their outcry took hold of the boundless forest. 

And so, hail to you, O Dionysus, rich in grapes; and grant that we should come again to this season of rejoicing, and from this time onwards for many a year. 

27. TO ARTEMIS - Εἲς Ἄρτεμιν.   

(This hymn is somewhat longer than the earlier fragmentary hymn to Artemis (No. 9). However that hymn was probably composed in Ionia, whereas this one is more likely to relate to Delphi.) 

I sing of Artemis of the golden arrows, boisterous, revered maiden, shooter of deer, delighting in arrows, own sister of Apollo of the golden sword. Delighting in the chase over shadowy hills and windy peaks, she draws her bow and dispatches grievous shafts; the crests of the lofty mountains tremble, and the tangled woodland resounds fearfully with the cry of wild beasts, and the earth quakes, as does the sea, full of fish; but she, with a strong heart, turns about in all directions, destroying the race of wild beasts. But, when the arrow-shooting huntress was full of good cheer, and was glad at heart, she slackens her curved bow, and goes to the great house of her dear brother Phoebus Apollo, to the fertile land of Delphi, to arrange the lovely dancing of the Muses and Graces. There she hangs up her unstrung bow and her arrows, and with lovely clothing on her body, she leads the way and initiates the dances; and the (others) send forth their heavenly voice in hymns to fair-ankled Leto, how she bore children (who) stood out (as) the best of the immortals, both in counsel and in deeds.    

Hail, (you) children of Zeus and lovely-haired Leto; but I will be mindful both of you and of another song. 

28. TO ATHENA - Εἴς Ἀθήναν.

(The style of this hymn to Athena, or Athene, known to the Romans as Minerva, is so similar to the preceding one, i.e. No. 27, that it is likely it was composed by the same person. 

I begin to sing of Pallas Athena, the glorious goddess, bright-eyed, resourceful, possessor of a relentless heart, revered virgin, protector of cities, valiant, Tritogeneia (n.b. the exact meaning of this epithet is unknown), whom Zeus the counsellor himself begat from his august head, arrayed for war in shining golden armour; and awe seized all the immortals as they gazed; but she rushed forward eagerly from his immortal head before Zeus, who bears the aegis, shaking a sharp spear; great Olympus began to quiver in dread beneath the might of the bright-eyed (maiden); and the earth round about cried out fearfully; and then the sea was aroused, and stirred by dark waves; and foam suddenly burst forth; and the brilliant son of Hyperion (i.e. Helios, the Sun) checked his swift steeds for quite a time, until the maiden Pallas Athena removed the godlike armour from her shoulders; and Zeus the counsellor rejoiced. 

And so hail to you, daughter of Zeus, who bears the aegis; but I will be mindful of you and of another song too. 

29. TO HESTIA - Εἴς Ἑστίαν. 

(This is the second Homeric Hymn to Hestia, known to the Romans as Vesta, the first one, No. 24, being most fragmentary. With regard to libations or drink offerings, Hestia was only honoured in this way at the beginning of feasts, but in sacrificial feasts Hestia would have been so honoured at the end of them as well. In this hymn, Hestia is closely linked with her nephew Hermes, known to the Romans as Mercury. This is perhaps because Hestia was the goddess of the household and the hearth, and Hermes, among his many functions, the god of boundaries.)

(O) Hestia, (you) who in the lofty dwellings of all the immortal gods and (those) of the men who walk on earth, have gained an everlasting place and the highest honour, for you have a splendid and a prized gift; for without you there can be no large banquet of mortals except in a place where one begins by pouring sweet wine (i.e. a libation) to Hestia both first and last; and you, the slayer of Argus, Zeus' and Maia's son, messenger of the blessed (gods) (i.e. Hermes), (you) with your rod of gold, giver of good things, (and) being gracious, come to my aid, together with the honoured and beloved (one) (i.e. Hestia). (Come) dwell in this glorious house, knowing the dear (things) in one another's hearts. For with both of you being aware of the noble actions of earthly men, you followed their wisdom and their earthly strength. 

Hail, Daughter of Cronos, and you also, Hermes of the golden rod; but I shall be mindful both of you and of another song.     

30. TO (EARTH), THE MOTHER OF ALL - Εἲς Τῆν Μητέρα Πάντων.

(This hymn is dedicated to Gaea (i.e. Earth), known to the Romans as Rhea. Although she is called 'mother of the gods' in general in line 17, in strict Hesiodic mythology she was the mother of Cronos and the Titans.) 

I will sing of well-founded Gaea, the eldest of all beings. who feeds all (creatures) that are in the world, all (those) that walk upon land, all (creatures) that are at sea, and all (things) that fly; these she feeds from her (store of) wealth. Through you, (O) queen, (men) are happy in their children and blessed in their harvests, and to you is the power to give life to mortal men and to take (it) away; happy (is) he, whom you willingly honour in your mind; he has all (things) in abundance. His food-giving land is laden (with corn), and he thrives in his fields with his cattle, and his house is filled with good things. Such (men) rule their city among fair women in an orderly manner, and much wealth and riches accompany (them); their sons exult in cheerful merriment, and their maiden (daughters) play, skipping happily in floral dances over the soft flowers of the meadow; (such are those,) whom you honour, holy Goddess, bountiful spirit.  

Hail, (O) Mother of the Gods, wife of starry Uranus, and, in return for this ode, readily grant (me) a pleasurable livelihood; but I will be mindful of you, and of another song also. 

31. TO HELIOS - Εἴς Ἥλιον.

(The concluding formula of this hymn shows that it was the prelude to a recitation. The place of composition is unknown, although the worship of Helios, known to the Romans as Sol, i.e. the Sun, was widespread across the Peloponnese and on the island of Rhodes in particular. Its timing is also unclear, but the description of Helios as a driver is not found in the works of Homer, and suggests it was written in centuries later than the Sixth or Seventh.) 

And now, (O) Muse Calliope, (i.e. the Muse of Epic Verse), the daughter of Zeus, do you begin to sing of shining Helios (i.e. the Sun), whom ox-eyed Euryphaessa bore to the son of Gaea (i.e. Earth) and starry Uranus (i.e. Heaven); for Hyperion wedded glorious Euryphaessa, his own sister, who bore him lovely children, rosy-armed Eos (i.e. Dawn), and lovely-haired Selene (i.e. the Moon), and tireless Helios, (who is) like the immortals, and who shines upon mortals and the deathless gods, as he rides in his chariot; and he gazes piercingly with his eyes from his golden helmet; bright rays beam dazzlingly from him, (streaming) from his temples, and the shining locks of hair from his head gracefully enclose his conspicuous face; and a fair finely-worked garment gleams upon his body in a blast of winds; and his horses (run) strongly under (him). So then, when he has halted his golden-yoked chariot and horses, there he rests upon heaven's peak (i.e. at noon), until he conducts (them) wondrously again through heaven to the Ocean. 

Hail (to you), lord, and may you freely grant (me) a pleasurable life. Having started with you, I shall celebrate the race of heroic demigods endowed with speech, whose deeds the goddesses (i.e. the Muses) have revealed to mortals.

32. TO SELENE - Εἲς Σελήνην. 

(The resemblance of this to the previous hymn to Helios is so close that it is likely they were both written by the same author at about the same time. However, the description of Selene, known to the Romans as Luna. i.e. the Moon, as winged seems to involve a confusion of her with her sister Eos (Dawn), who is regularly portrayed in classical literature as having wings, whereas the Moon is never so portrayed elsewhere. Another anomaly is the appearance in line 15 of Selene's daughter, Pandia. Not only does Pandia not appear elsewhere in classical literature, but the purpose of her introduction here is quite unclear.)  

(Now O) sweet-voiced Muses, daughters of Cronos' son, Zeus, well versed in song, engage in singing of the long-winged Moon; the heavenly gleam from her immortal head encircles the earth, and great beauty arises from her glowing light; the unlit air now beams (with light) from her golden crown, and the rays beam clearly whenever divine Selene, having bathed her lovely body in (the waters) of the Ocean, donned her gleaming raiment, and, having yoked her team of shining strong-necked steeds, she eagerly drives her fair-maned horses forward in the evening at the full of the month. Now is her great orbit full, and then, as she waxes, are her beams from heaven most bright; so, she becomes a token and a sign to mortal (men). Once, the son of Cronos was joined to her in love and the (marriage) bed; and she conceived and bore a daughter, Pandia, who possessed a remarkable beauty among the immortal gods.

Hail, divine Selene, white-armed goddess, benevolent queen with lovely hair; beginning with you, I will sing of the renown of heroic demi-gods, whose deeds minstrels, the attendants of the Muses, celebrate from their lovely mouths. 

 

33. TO THE DIOSCURI - Εἲς Διοσκούρους.  

(Unlike the shorter fragmentary hymn to the Dioscuri, Castor and Polydeuces, known to the Romans as Pollux, (see No. 17), this is the prelude to a longer poem.) 

(O) sharp-glancing Muses, tell of the Tyndarids, the sons of Zeus, the glorious children of Leda, (the one) with the beautiful ankles, both horse-taming Castor and blameless Polydeuces, whom she bore beneath the peak of great Taÿgetus, after she had joined herself in love-making with the cloud-wrapt son of Cronos, children (who are) saviours of earthly men, and of swift-faring ships, when wintry gales storm across the relentless sea; then, the (men) from the ships call upon the sons of Zeus (i.e. the Dioscuri), vowing (to sacrifice) white lambs (to them) when they climb to the top of the deck; but the strong wind and the waves of the sea put the (ship) under water; then, suddenly they are seen, darting through the air on tawny wings, and, at once, they allay the blasts of the cruel winds, and calm the waves on the surface of the gray sea; fair signs (they are) of deliverance from toil; and, when they saw (them), they were glad and they came to the end of their painful labour.   

Hail, (you) sons of Tyndareus, (you) who mount swift steeds; but I will be mindful of you and of another song also.