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Homeric Hymns

This entry completes the number of sixty dishes that should consist of Homer's Feast, this blog that perhaps was committed to website. I thank you all those who have followed since November 2008 and have enriched with your comments and suggestions. Although the feast is complete, now comes the time to suggest dishes "out of letter" I hope the new offer is still to your liking.

Commenting on the corpus of hymns hexameters attributed to Homer, the Homeric Hymns called, be treated on the following points:

1. APPROACH
2. AUTHOR AND CHRONOLOGY OF CORPUS
3. Gender characteristics.
4. CIRCUMSTANCES OF COMPOSITION AND PERFORMANCE. ANTHEM AND RITE
5. COMPOSITION CORPUS


1. APPROACH

Through direct transmission (codices) have come down to us four collections of hymns composed in literary Greek epic meter:

1. called Homeric Hymns,
2. those written by Callimachus (see the input 37. Callimachus )
4. Orphic Hymns and are the work of neo-Platonic philosopher Proclus (see entry 53. The philosophy of the Empire ). The

Homeric Hymns are a set of thirty-three compositions (one of them, I very fragmentary) whose paternity was assigned to the author Iliad and Odyssey for reasons we shall see later.
These hymns have come to us through medieval manuscripts: those discovered by Cassola (1975, 593-6) in his edition are twenty-six.
It is worth noting that we retain only three or four papyrus text of Hymns , this seems to be an indication (admittedly questionable) that, on the date of production of the papyrus, the Homeric Hymns was not a text habitual reading.
But surely the texts had enjoyed widespread previously. The study of the trace the Homeric Hymns left in Greek literature of all times is a matter under study here can not be addressed as we desire. And the footprint
corpus may spread beyond the Greek literature. For example, there are reasons to argue that Ovid was able to take account of the Homeric Hymns when composing his Metamorphoses .


2. AUTHOR AND CHRONOLOGY

Two traditional philological issues should not be ignore are those relating to the author and the date of the texts. About the author has to explain first that none of the Homeric Hymns could be composed by Homer, or more precisely, that the author or authors of the Iliad and Odyssey should not have to compose any of the Hymns of the collection.

• is true that the attribution of the texts of Homer is generally in the codices, the Hymns also present the literary conventions of the standard used in Iliad and Odyssey .
• why we who have to bear the burden of proof and explain why anyone still believes in the authorship of the Homeric corpus.

The first argument that invalidates that authorship is the chronology of the works.

• In the case of Iliad and Odyssey , dating attempts typically range between 750-700 a. C., no missing person who placed the composition of the poems in the first half of S. VII a. C.
• Only with this late timing may overlap (and only in part) the critical times of the authors of each other texts, as the Homeric Hymn oldest (the fifth, Hymn to Aphrodite) can be dated perhaps about 675 a. C.,
• In other cases the timing happens to be higher: in some cases ( H. Hom. VIII) seems beyond doubt that this is a poem of imperial times (see below).

The chronology of Hymns, like the Iliad and Odyssey can be established according to three types of internal arguments: linguistic, stylistic or realia .

In general it seems that all these arguments call for the latest status of our corpus. In this connection reference may be to study Zumbach (1955) on the language of the Hymns or analysis of the use of epic diction in the texts of authoring Hoekstra (1969), a detailed summary of arguments and others, applied to the case of each hymn can be found in the Previous Notes accompanying the poems in the edition of Cassola (1975).

A twist on the discussion of the chronological problem was offered by R. Janko (1982), who applied to the body, consistent, methods of statistical linguistics. In the case of those anthems that have a sufficient length so that the statistical method is reliable datings could propose the following:

• Hymn to Aphrodite (H. Hom. V) to 675 a. C.
• Hymn to Demeter (H. Hom. II) to 640 a. C.
• Hymn to Hermes (H. Hom. IV): the late S. VI a. C.

In the case of the Hymn to Apollo ( H. Hom. III), Janko is with a large number of critics, that we are faced with two originally separate texts: the so-called Delian hymn "would date approximately 660 a. C. and "Delphic hymn" of 585 a. C.

From these data we can extract yet another idea: the texts are chronologically disparate, and therefore it is unthinkable that everyone can be attributed to a single author, call it Homer or otherwise.
The hymns large (the four mentioned above) seem to have emerged in archaic time, between the seventh-VI a. C. You may also date from this time (or a little more recent chronology) a good part of the body, often highlighted as the general literature on the subject.
For example, this is the point of view that includes West (2003, 5) in the foreword to the latest edition of the Homeric Hymns published to date.
But we can not overlook the fact, already mentioned, the Hymn to Ares ( H. Hom. VIII) dating from the Christian era, perhaps of S. III or V d. C. It is true that this hymn is a foreign body in the corpus, however, may not be the only late component of the collection, for a low chronology has also been proposed, for example, in the case of H. Hom. XXXI and XXXII (Gelzer 1987, 166).


3. GENDER CHARACTERISTICS

reading the Homeric Hymns (but not read in their original language) is easy to appreciate the existence of features shared by the texts is perhaps most evident the existence of a common heritage make that input can be considered identical to that found in the Homeric works canonical. We feel, therefore, the temptation to consider that Hymns gender have common characteristics.
However, while some surprise awakens the idea to equal an extensive narrative as Hymn to Hermes (the fourth hymn of the corpus: Five hundred eighty lines) and another so small (three verses) as H. Hom. XIII ( A Demeter). Recognising
divergence before exploring what they have in common Hymns. The gap to which we refer is the gap extension:

• has long been argued that the corpus there are two different types of compositions: the long hymns (the numbers II to V, more likely the I) and on the other hand, the rest, the so-called "short hymns, among which are its largest on the H. Hom. VII (59 vv.) And XIX (49 vv.).
• However, I am of the opinion (see Torres 2003a, 4) that is functional distinction, in this subgroup, the hymns we call short (IX-XVIII and XX-XXV, texts from three to twelve verses) means ( XXVI-XXXIII, texts from thirteen to twenty verses).

From here, looking for what made a text shared with others, it is necessary to remember that we are dealing with texts in the manuscript tradition are called hýmnoi.
The first thing you have in common Homeric Hymns is what connects them in a more general level, with all the hymns of the Greek tradition (liturgical and literary). The nature of hymns, shared by all, is reflected, for example, in a well-known tripartite structure.
early twentieth century, Ausfeld (1903) spoke of the existence in the Greek hymn of three consistent elements: the

• inuocatio (the bard begins by saying the name of the deity to which it leads),
• the pars epica (which has to argue why the divinity must support the believers)
  
• and precatio (raised by the petition addressed to God the poet).

propose some changes in terminology Ausfeld Latino:

• For starters, it seems more aseptic simply call "introduction" to the inuocatio .
• The term pars epica is very misleading. Makes sense applied to an extensive narrative as Hymn to Demeter. But its application to most hymns (lyrics) seems unjustified, indeed, a good part of Hymns corpus there is no reason to call pars epica a richly adjectival middle section, closer to the texts that the epic opera. It therefore seems preferable to replace the name with a more aseptic Ausfeld, perhaps "middle section."
• Similarly, it seems preferable not to mention precatio but simply of "conclusion" because, as seen in examples like Hymn to Apollo, the Hymn to Hermes or Hymn Aphrodite appeal does not necessarily appear in all the hymns.

The introduction and conclusion of Greek hymns have a strong formalization, and this is a well known and analyzed.
The middle of the song, usually the largest, can be developed in four models Ausfeld (1903), speaking of all the Greek hymns (liturgical and literary), characterized with four Latin expressions:

• da quia dedicated (granted, for I have given ") ut
dem
• da (" granting to grant you),
• da quia dedisti (granted, because it granted ")
• and dare da quia hoc est tuum (granted, for granted this belongs to you").

In the case of the Homeric Hymns models of interest are the last two:

1. The first (granted, because it granted ") is present in the Hymns Janko (1981) calls" hymns mythical "in these songs the bard tries to propitiate the deity by evoking (and narration in the past) of previous events that testify to the power of god, this group of" mythical hymns " include, for example, the Hymn to Demeter or Hymn to Hermes; also belong to the same category H. Hom. VII and some of the songs short and the media.
2. On the other hand, when the poet turns his singing to God by following the other strategy (granted, for granted this belongs to you "), what it does is attract the deity through the memory of his attributes and characteristics, to this kind of texts, all short and medium hymns, grants Janko (1981) the title of "conferring hymns."

Janko In the classification has also accommodate a third type of poems, called "hymns compounds ", in which a start attribute type is then transformed into narrative, to this group belong to the whole Hymn to Apollo and the Hymn to Aphrodite .

is common to all Homeric Hymns (and thus can be considered a formal gender feature) use the same metrics and a style basically identical: identical or highly similar also to that used the Iliad or Odyssey , as anticipated earlier.

• As regards the metric remember that all Hymns Collection are made in dactylic hexameter, the verse itself of the two Homeric epics.
• And speaking of style "basically identical" refers to the fact that Hymns use literary language of Iliad and Odyssey .
• But also, the Homeric Hymns also share with these two poems and the rest of the Greek hexameter poetry diction to make feature.

is true that in the management of that jurisdiction have identified certain differences from Homeric poetry. To this fact is found explanations of different type, and so

• is assumed that Hymns represent an evolution "subépica" Homeric style (Hoekstra 1969),
• or that are the exponent of a different poetic power, a continental (Pavese 1974).

Perhaps these differences of speech are just an indication that the Homeric Hymns were already a distinct genre of epic poetry or theogonic (Hesiod), and therefore were setting their own style conventions.

may also discuss specific characteristics shared by the subgroup of "hymns mythical. " These characteristics have been studied in detail for the case of long hymns by Clay (1989).
The study of this author pursued other goals that were not strictly narratological, and therefore we can consider that the detailed analysis of the narrative characteristics of the Homeric Hymns field remains an open study. In what follows
reworking of the observations of Clay (1989). But my method of presentation is different from yours, because what I want is to extract generic features that serve to define the Homeric Hymns mythical face a whole other narrative forms, particularly compared to the poems Homeric canon.
understand that we can propose the distinguishing characteristics of these Hymns are:

TOPICS:
The Homeric Hymns mythical always tell a story middle section featuring the god that directs the rhapsody in the introduction of the poem. The plot of the story are different matters, they being generally the most characteristic:

• the birth of the god,
• conflict resolution by the divinity,
• its acquisition of certain attributes,
• its prodigious demonstration (The epiphany)
• and the establishment of rites.

NARRATOR:
The bard who presented in the introduction of a mythic hymn to the god who will sing, and then fired at the conclusion of the poem, becomes the omniscient narrator in the narrative section of the text.
At least in appearance, the narrator of Hymns (especially in the case of long texts) is similar to the kind of narrator we encounter in Iliad or Odyssey .

TIME:
is characteristic of the Homeric Hymns their action happens in a time that is not and the first principles (the time before the reign of Zeus, the time of the cosmology and the early stages of the Theogony), although not yet the world is familiar.
reading the texts clearly notes that in the long hymns, we talk about what has been called the "prime time."

SPACE:
The space in which the action takes place in the Homeric Hymns usually is divided between the earthly world and the world of the gods, this is the Olympus or Hades, as occurs in a portion of the hymn Demeter (vv. 340-79).
In relation to space is also commenting that it is common Hymns that recount the entry of a new god in the divine world or a demi-deified, as in the case of Heracles in the H. Hom. XV.

FIGURES:
The distribution of space between the divine and the human world clearly relates to the fact that figures in the narrative are both gods and men, accounting for those (for obvious reasons) the title role.

• can we say that a narrative song in which the figures are all divine: it is virtually the situation in the Hymn to Hermes .
• However, it is usually men and gods distributed roles, and the interaction between the two worlds holds importance in history. Very specifically, the mortal-immortal contrast acquires a great importance in the Hymn to Demeter and, above all, in the Hymn to Aphrodite.

4. CIRCUMSTANCES OF COMPOSITION AND PERFORMANCE. ANTHEM AND RITE

The characteristics of the Homeric Hymns set out above are essentially formal. In the case of other literatures, or other periods of literary history of Greece, such features may be sufficient to define a genre.

Now we know thanks to works of authors such as Carlo Pavese, in the historical period of ancient Greece, a genre not come defined by the formal features but by the "station in life" that occupied the literary works, was booked their place in life community: circumstances of composition and execution.

Although from our point of view, it seems obvious that the composition must precede the implementation, composition and performance tend to be identified in the case of literature and oral cultures.

• ancient Greece lived in a functional oral stage, according outstanding scholars, for that would have the entire file system employed open this section asking if Homeric Hymns are the result of an oral composition.
• However, the issue is very complicated and uncertain, so I prefer to remember first what we know about the implementation of the Homeric Hymns .

Evidence from Hymns indicates that these poetic pieces (some of them at least) were performed on the occasion of festivals.
In fact alludes most explicitly in the Hymn to Apollo, where the bard takes the word to describe the contest apostrophize Delos and girls who make up the chorus (vv. 146-78). It also alludes to the conclusion other hymns, such as H. Hom. VI (vv. 19-20):

grant that in this contest
get the victory and compose my song (trad. José B. Torres).

to the annual festival also refers H. Hom. XXVI (vv. 12-3), also at the request of the conclusion:

health grants that return
station and from station to station, until they meet many years (trans. Joseph B . Torres).

The religious character of these festivals and the possibility that Homeric Hymns are linked in a necessary way to the ritual will be discussed a little later.
On the other hand, the very terminology used by the Greeks when they begin to quote the Hymns can provide information about the function of these poems.

• We refer to the fact that Thucydides (III 104, 4) insert text Hymn to Apollo (vv. 146-50, 165-72) indicating that from a "proem ( prooímion ) Apollo. "
• This news should be connected with the offering Pindar in Nemeas II 3, where the poet declares that the Homeric opened his performances with a preface dedicated to Zeus.

is, on this basis may be proposed that the original function of what we know as the Homeric Hymns was to serve as a prelude to the epic song of the bards. In this connection we may mention also some internal evidence:

• A series of Hymns of the corpus announcing the passage concludes the recital of another composition. The formula used in V 293, IX XVIII 9 and 11 is "I, after starting for you, I will go to another song."
• Nothing less than twelve are the Homeric Hymns ending with the words "I will remember you, and another song ", but it is unclear whether this formula indicates the way to another composition or arrangement of the bard to celebrate the god in the future.
• Finally, in two cases explicitly says that the song being sung then try heroic theme: as in H. Hom. XXXI (18-9, "after starting for you, celebrate the nation of men of old, / demigods) and XXXII (18-9," starting for you, for the glory of man-sing of the demigods whose bards celebrated feats. ")

But the evidence of these two texts can not provide any evidence regarding the conditions under which ran the Hymns in older stages if it is true that, as advocated by Gelzer (1987, 166-7), these late compositions.

The question of Homeric Hymns as preface to the song of the epics has been debated since the publication in 1795 of ad Homerum Prolegomena of FA Wolf.
The literature on the preamble, and the possibility that the Homeric Hymns have such function, was increased along the twentieth century.
obviously a priori rejection causes some to think that poems like Hymns II-V (495, 546, 580 and 293 lines respectively) fulfilled the role of preludes.
But on the other hand, the hypothesis does not seem so disconcerting when we thought the work to which serves as a preface any of those four is a long hymn text length Iliad or Odyssey (15693 and 12110 hexameters).
perhaps worth recalling at this point the differences in size between the Homeric Hymns long and the rest of the body: these differences are due to the fact that the texts fulfilled different functions?
The diversity of functions performed by the hymn is the hypothesis that says, with different nuances, Clay (1989), De Hoz (1998) and Torres (2002-03).

• Clay (1989) understands that different circumstances corresponded also run different types of song (hymns shorts that served as introductions to other songs and hymns that ran longer independently).
• argues in this respect the example of what happens in the Odyssey (canto VIII), where Demodocus song has different characteristics depending on the occasion: not the same as the bard sings in the palace, including nobles, and singing in the public meeting. According to Homer, when Demodocus starts in the house of Alcinous his account of the Trojan horse ( Od. VIII 499-520) makes a reference to God ("by the beginning God," v. 499), this term may refer to a divine brief prelude to the heroic theme, implying that Demodocus, or in general rhapsodists first sang a song similar to the Homeric Hymns short (short or medium) that we know.
• however, is different Demodocus intervention at the meeting of the agora, the song on the furtive loves of Ares and Aphrodite (VIII 267-366) shows similarities with the type narratives we find in the Homeric Hymns older, very special moments of humor that exhibit the Hymn to Aphrodite or Hymn to Hermes.

may be, therefore, that our library Homeric Hymns have grouped on the basis of formal similarities, compositions of two kinds: compositions designed primarily as a preface to the recitation of certain types of poetry, or even as "propitiatory proems different events" (De Hoz 1998, 65-6), along with other poems (the Homeric Hymns long) which were from the beginning a poetic type independent that did not run as a prelude.

In discussing the question of how the composition of the poems should begin by recalling that we started with the following hypothesis: Greece, at the time of creation of Hymns , lived in a functional oral stage.
But does this imply that Homeric Hymns are poetry of oral composition? This has been a frequent topic of discussion for which, as in the case of Iliad or Odyssey , has not been possible to find definitive answers. I do not care
therefore respond to the question of oral composition Hymns as calling attention to the fact that they are abundant features of traditional oral poetry.
The basic criteria for recognizing the oral imprint of a text are five, as outlined B. Peabody ( The Winged Word, Albany, 1975, 3-4) :

1. redundancy in the use of sound,
2. the recurrent use of terms (basically, the formulas),
3. the adequacy of periods syntactic to the metric unit of verse (or, which is the same, the restriction on the use of enjambment),
employment
4. recurrent narrative motifs (the most characteristic are the typical scenes)
5. and the existence of textual variants that can not be explained by the process of written transmission.

All these criteria are applicable to the case of the Homeric Hymns ; but certainly not all are left to determine whether we go to the Hymns through a translation.

With the issue of composition and performance of the Homeric Hymns up couples referred to the role they could play in certain rituals.

• of a link with specific rites seem to speak only a few texts: Hymn to Demeter (relative to Eleusis) and the Hymn to Apollo (as referred to Delos and Delphi)
• has also been argued that the Hymn to Hermes must run within festivals dedicated to the god ( look what it says SI Johnston, "Myth, Festival, and Poet: The Homeric Hymn to Hermes and Its Performative Context", Classical Philology 97, 2002, 109-32), or the H. Hom. XXIV is an invitation to Hestia becomes present in a temple (see what they say Allen-Halliday-Sikes 1936, 418 ).

But what is at issue is the degree of commitment the Hymns to these cultic centers, and who argue that this linkage is superficial, say while the Homeric Hymns are actually representatives of a religious Panhellenic and, as result, could be executed so indistinct anywhere in the Greek world.
The question of whether there is a link of Hymns with places of worship should be discussed in particular in relation to each of the texts.
At this time I remember that, next to the Homeric Hymns , we have a very large corpus of hymns to liturgical function. If the Homeric Hymns
met a role in the rite, this might not be in any case equal to that of liturgical hymns, compositions without literary pretensions and a clear link to the specific circumstances of the celebrations that were implemented.
The difference that existed between the Homeric Hymns and hymns of other (Orphic) and also realized Pausanias (IX 30, 12) in Antiquity:

Whoever is interested in poetry known Hymns of Orpheus are, taken individually, brief and, overall, few in number. (...) For the beauty of the verses would take second place after the hymn Homer, but have reached a point of highest honor them by their divine nature.

5. THE COMPOSITION OF CORPUS

is relatively easy to establish a consensus on the timing of the Homeric Hymns and say that virtually everyone should be composed in the S. V a. C. We recall that this is the date on which Thucydides (III 104, 4) quotes in his work a few verses of Hymn to Apollo .
But the existence of the texts is something other than the existence of the corpus. This section will look at what dates and what criteria could compile the collection. And I recognize, above all, that the question of date of collection is difficult to propose some answers, the following five paragraphs develop my hypothesis:

1. chronological limit beyond which we can assume that the corpus was compiled (the terminus post quem any relative timing) is provided logically dating own hymns. The delayed by at least H. Hom. VIII, maybe work the centuries III and V d. C., it seems beyond doubt. This implies that the corpus of Homeric Hymns , as it has come down to us, must not be earlier than III or V centuries AD. What matters is to know (as the case regardless of H. Hom. VIII) on what date could compile the rest of the collection.
2. To answer this question we turn to address the chronology of the hymns, in order to find a new terminus post quem . The problem is that the chronology of these compositions can only be fixed with relative safety for long hymns (SS. VII-VI BC). For short hymns and media is more difficult to propose a dating. A negative can be said that there is no argument to show that none of these hymns has emerged at a later date at the end of the classical period, if this is accepted, we may say that the S. V a. C. (Or IV, if you prefer more room) is the date after which we must assume that there was the compilation of Hymns .
3. After having set a terminus post quem it is necessary to establish a terminus ante quem , a date which must already exist a corpus of Homeric Hymns . The terminus ante quem for the compilation of the corpus can be searched on the following evidence: 1) the intertextual allusions to Homeric Hymns ; 2) references to other authors present corpus. From this evidence, the first evidence that, for example, has in mind Callimachus Hymn to Apollo when he composed his Hymn to Delos But this does not mean that Callimachus has known the Homeric Hymns corpus as organized. The second type of evidence can be more explicit, relying on him, the terminus ante quem higher than we propose for the corpus is provided by Diodorus of Sicily, writing in the first century C. and used on several occasions (I 15, 7, III 66, 3, IV 2, 4) the expression "Homer the poet, in the hymns says ..." so to speak Diodorus indicates that a collection of hymns called Homeric.
4. To fix the terminus ante quem collection may be useful in the Geneva papyrus 432, by which we know in part what is fragment 1 of the Hymn to Dionysus. This papyrus may be considered ( mutatis mutandis) a school notebook of the SS. II - I a. C., as exhibited his first publisher (Hurst). The fact that the h.Bac. ( H. Hom. I) is copied at that time in school seems to imply, as Hurst noted that the anthem was still considered in this chronology of Homer's work. However, still seems more likely the following hypothesis: if the Hymn to Dionysus entered the school and it was copied from the SS. II - I a. C. should not have to do to be considered on an individual work of Homer but part of a collection of texts, hymns presumably attributed to the poet at the time.
5. is obvious that the argument just proposed is not conclusive, but we believe it is worth taking into consideration. To be correct, given the tenor of the remark 2 implies that a corpus of Homeric Hymns , ours or near background, must be compiled between the end of classical period and the second century C., in the Hellenistic period therefore.
   

is true that the Homeric Hymns no scholia and its text was not edited out of surplus lines: this has led to the suggestion that the Alexandrian philologists will ignore the Hymns and not released (as they did with the Iliad or Odyssey ) because they believed that they were the work of Homer.
Since the Geneva papyrus is a first-hand testimony that the Hymn to Dionysus Homer's work was seen in the SS. II - I a. C., you might have thought that Hymns were ascribed to Homer deuterocanonical basis (compared to canonical works of Homer, Iliad and Odyssey ).
This may explain that the Alexandrians had compiled and organized the corpus (as I suggest) without, however, to approach the task of a critical edition of it.

Joseph B. Torres Guerra

SOME REFERENCES:

* General Studies:
AUSFELD, K., "De Graecorum praecationibus quaestiones" Jahrbücher für Classische Philologie 28 (1903), pp. 505 ff.
BARNABAS, A., "Introduction", in Homeric Hymns. The "Batrachomyomachia" Madrid, 1978, pp. 9-34.
Cantilena, M., Ricerche sulla dizione epic. I. Per a studio degli Inni della formularità Omerici, Rome, 1982.
Clay, JS, The Politics of Olympus: Form and Meaning in the Major Homeric Hymns, Princeton, 1989.
Clay, JS, "The Homeric Hymns," in I. Morris and B. Powell (eds.), A New Companion to Homer, Leiden , 1997, pp. 489-507.
DE HOZ, M ª. P., "The Homeric Hymns and prayers cult short" Emerita 66 (1998), pp. 49-66.
FERNANDEZ DELGADO, JA, "The cows protein Hymn to Hermes: speech making and parody," Emerita 66 (1998), pp. 1-14.
Gelzer, T., "Bemerkungen zum Homerischen Ares-Hymnus (Hom. Hy. 8)", Helueticum Museum 44 (1987) 150-167.
HOEKSTRA, A., The Sub-Epic Stage of the formulaic Tradition, Amsterdam, 1969.
Janka, R., "The Structure of the Homeric Hymns: A Study in Genre", Hermes 109 (1981), pp. 9-24.
Janka, R., Homer, Hesiod and the Hymns: Diachronic Development in Epic Diction, Cambridge, 1982.
PAVESE, CO, "The Hymn rhapsodic: Thematic analysis of the Homeric Hymns", en AC y Cassio G. Cerri (eds.), The hymn between ritual and literature in the ancient world, Rome , 1993, pp. 155-178.
TORRES, JB, "Die Anordnung der Hymnen homerischen" Philologus 147 (2003), pp. 3-12.
TORRES, JB, "Introduction", in Homeric Hymns, Madrid, 2005, pp. 13-52.
* Specific studies:
BARNABAS, A., "The myths of the Homeric Hymns : the example of Hymn to Aphrodite" in JA Lopez Ferez (ed.), Myths in archaic and classical Greek literature, Madrid, 2002, pp. 93-110.
MILLER, AM, From Delos to Delphi. A Literary Study of the Homeric Hymn to Apollo, Leiden, 1985.
SMITH, P., Nursling of Mortality. A Study of the Homeric Hymn to Aphrodite, Frankfurt aM, 1981.
TORRES, JB, "Targeting (Views) in the Hymn to Dionysus ( H. Hom. VII) ", in Proceedings of X English Congress of Classical Studies, Madrid, 2000, Volume I, pp. 651-6.
WEST, M., "The Fragmentary Homeric Hymn to Dionysus" ZPE 134 (2001), pp. 1-11.
* Editions, commentaries and translations into Castilian for Homeric Hymns.
ALLEN, TW, Halliday, WR and Sikes, EE (eds.), The Homeric Hymns , Oxford, 1936.
BARNABAS, A. (Trans.), Homeric Hymns . The "Batrachomyomachia" Madrid, 1978.
Cassola, F. (Ed.), Inni Omerici, Fondazione Lorenzo Valla, 1975.
RICHARDSON, N.J. (ed.), The Homeric Hymn to Demeter, Oxford, 1974.
TORRES, J.B. (trad.), Himnos Homéricos, Madrid, 2005.
WEST, M. (ed.), Homeric Hymns. Homeric Apocrypha. Lives of Homer, Cambridge Mass.-Londres, 2003.