364:
the start of the hymn, and is designed to gain the attention of the hymn's addressee. It names the deity (sometimes using an epiclesis), and usually calls upon them with a verb, which may be in the imperative, though sometimes no such verb is present, in which case the god is simply named. The development (also referred to as the amplification) makes up the main, central portion of the hymn, and is the longest section; it follows immediately from the invocation, with the point at which it begins often being difficult to distinguish. It consists mostly of descriptions of the deity, particularly in the form of numerous epithets, and may discuss different features or aspects of the god, as well as include information such as their familial relations, or locations in which they are worshipped; the purpose of this section is to gratify the deity so that they choose to make themselves present. The request (also referred to as the prayer) generally finishes the hymn, and is usually only around one or two lines in length. It opens with several verbs which typically ask for the god to listen to what the speaker has to say, and for them to be present.
342:), the latter of these referring to the address which follows from lines 3 to 44, in which around 70 different deities are called upon to attend the rite in question (which would go alongside the performance of the text). The purpose of this prayer is seemingly to name and devote a hymn to "all" the gods, though it addresses numerous deities not mentioned in the collection itself, and omits others who are subjects of hymns. Partly on the basis of this difference in the deities mentioned, as well as the presence of the word
217:", alluding to the parentage of Orpheus (whose father was sometimes considered to be Apollo). The collection can be seen as an example of the broader genre of hymns in Orphic literature, which go back at least as far as the 5th century BC; though some scholars have brought into question how "Orphic" the collection can be considered, partly due to the apparent lack of Orphic narratives and eschatological ideas, there are several places in which the language bears similarity to other works of Orphic literature.
1183:; Herrero de Jáuregui 2015, p. 232. According to Herrero de Jáuregui, this kind of address, from the teacher figure to the student, is a "typical feature of didactic poetry", and Orpheus can here be seen as the "prototype of the poet and the priest who would compose and sing hymns", while Musaeus can be seen as the "prototype of the initiates who would listen to them".
97:, the earliest certain reference to the collection of 87 hymns comes from the 12th-century AD writer John Galenos. It is possible that they were composed at an early date without being mentioned, though it is more likely that they were produced somewhere from the 1st to 4th centuries AD. Christian Petersen, who saw the influence of
489:
specified is an aromatic, incense (or incense powder or granules), storax, or myrrh. In some cases a combination of offerings is asked for. Several hymns specify a unique offering to be given to the deity, such as torches to Nyx, saffron to Aether, poppies to Hypnos, and grain (excluding beans or herbs) to Earth;
1343:
Morand 2001, p. 58. Myths in which the god features are usually only ever briefly alluded to (often through the use of epithets), though there are a few exceptions to this; see Morand 2001, p. 59 with n. 91. Some hymns also contain an intermediate request, which is located within the development; see
493:
53 to
Amphietes asks for a libation of milk in addition to an offering. While in a few cases there is a recognisable link between a deity and their offering, as with poppies for Hypnos, or grain for Earth, for most of the hymns there is no clear reasoning behind the choice of offering. The absence of
363:
Each individual hymn in the collection has three internal parts: the invocation, the development, and the request. In some hymns, however, especially those shorter in length, these three parts can be difficult to distinguish, and may not occur in order. The invocation is brief, typically appears at
124:
were produced in Egypt, primarily on the basis of stylistic similarities to
Egyptian magical hymns, and the presence in the proem of deities which are found elsewhere in Egyptian literature. Modern scholarship, however, now essentially unanimously agrees upon Asia Minor as the place of composition;
333:
The collection begins with a poem entitled "Orpheus to
Musaeus", often referred to as the proem, proemium, or prologue, in which Orpheus speaks to Musaeus (who is usually described as his son or student in Greek literature). The proem has 54 lines, including the final ten which make up the hymn to
488:
Most of the hymns in the collection contain a specification of an offering to be made to the deity, which is given as part of the title of the hymn; only eight hymns lack such an offering in the title. In ritual, these offerings would likely have been burned. For most of the hymns, the offering
425:, alliteration, assonance, and repetition, as well as forms of wordplay, such as etymologies on the names of gods. Other notable stylistic elements include the frequent use of compound adjectives as epithets, the tendency to juxtapose contrasting descriptions of deities, and the use of
117:, and van Liempt saw their language as the same used in 3rd and 4th-century AD poetry. More recently, most scholars have dated the collection to around the 2nd or 3rd centuries AD, with Gabriella Ricciardelli pointing to the prominence of Dionysism at that time in Asia Minor.
262:("old age"). The collection is also arranged in such a way that the earliest primordial deities appear in the first hymns, while later gods are found further on. As such, the earliest hymns are addressed to deities who feature in Orphic cosmogony, such as
173:
in
Pergamon itself, a view with which some have subsequently agreed. Scholars have at times stated that the collection was the product of a single author, though it has also been questioned whether or not the proem was composed separately.
360:). Anne-France Morand, however, argues for the common authorship of the proem and the rest of the collection, pointing to the similarities in the usage of epithets, and in the way deities are characterised between the two.
105:, posited that they must have been composed after the flourishing of Stoic thought, though others have instead seen Platonic or Neoplatonic influence in the collection. On the basis of the language and meter of the
249:
is appended to the proem, though modern editions present it separately, as the first hymn of the collection. In the order of the hymns there occurs a progression from life to death: the second hymn is addressed to
367:
The hymns in the collection are similar to each other in their style and language (with several exceptions, which
Ricciardelli suggests may not have been part of the original collection). They are written in
395:, but also contain a number of words and forms from later literature, spanning up to the imperial period. In particular, the language of the collection bears similarity to that of late works such as
441:
were liturgical in function, and were used in religious rites by a cult which existed in Asia Minor. According to Morand, this group performed initiations into some form of mysteries. Within the
169:
were liturgical in function, designed for ritual performance by a cult community, a perspective almost universally accepted by modern scholars. Kern argued that this group existed at the
533:
at the entry to the building in which the rite took place, which participants would have walked past before its commencement. Graf also argues that the presence of the hymn to Nyx (
1608:
Morand 2001, pp. 101, 103; Ricciardelli 2000, p. xxxvii; Ricciardelli 2008, p. 335. Titles which include offerings contain the name of the deity, after which comes the word
1272:
Morand 2001, pp. 41–2. For an outline of the ways in which various hymns deviate from this standard structure, see
Rudhardt 2008, Chapter I, paras. 23–4.
185:. The collection is attributed to Orpheus in the manuscripts in which it survives, and is written in the voice of Orpheus, opening with the dedication "Orpheus to
699:
517:, an initiation rite to all of the gods. This rite appears to have occurred at nighttime, and may have included the playing of a tambourine at points. The
1621:
Morand 2001, p. 103. For a discussion of these eight hymns, and the possible reasoning for them not having an offering, see Morand 2001, pp. 111–5.
126:
1959:, pp. 157–176, edited by Alberto Bernabé, Fransec Casadesús, and Marco Antonio Santamaria, Alicante, Biblioteca Virtual Miguel de Cervantes, 2010.
421:
is their use of concatenations of epithets, which make up a large part of their content. They also contain a number of language devices, such as
373:
334:
Hecate (which is attached without separation or a title). It opens with a two-line dedication in which
Orpheus asks Musaeus to learn the rite (
1371:
Morand 2001, p. 49. The point at which the request begins is almost always easily distinguishable; see
Rudhardt 2008, Chapter I, para. 146.
251:
1922:
346:("a ritual usually linked with sacrifice"), which does not appear in the rest of the collection, at the beginning and end of the proem,
1148:("use it favourably, friend") is added behind the title; see Morand 2015, p. 211 with n. 9; Ricciardelli 2008, p. 328; West 1968,
1493:
Ricciardelli 2000, p. xxxiv; Graf, p. 170; see also
Linforth, p. 186. For a discussion of where this group existed, and when the
130:
1389:
Ricciardelli 2008, p. 345; Ricciardelli 2000, pp. xxxi–ii; Rudhardt 2008, Introduction, para. 25. Ricciardelli 2000 cites
525:, which may refer to sacred objects which featured in the rite. According to Fritz Graf, the placement of the hymn to Hecate (
245:
consist of 87 very brief poems, which range from 6 to 30 lines in length. In the surviving manuscripts, the hymn addressed to
2128:
2088:
2073:
2058:
2043:
2002:
1979:
1945:
1918:
1895:
1862:
1839:
1805:
1776:
675:
642:
624:
609:
233:, however, contests that it is equally likely that the name of Orpheus was simply stamped upon the work for its "prestige".
1991:
Nonnus of
Panopolis in Context: Poetry and Cultural Milieu in Late Antiquity with a Section on Nonnus and the Modern World
1630:
Morand 2001, pp. 150–1. Morand states that grain, the offering to Earth, might be the possible exception to this.
570:
584:
2021:
1056:
1034:
1012:
920:
876:
854:
761:
566:
2144:
481:
and the prominence of Dionysus in the collection indicate that he was the central god of the cult which used the
1780:
972:
955:
646:
1546:
Morand 2001, pp. 240–2. The term means "clothed with mystical power", or "with the power of mysteries".
1299:
Morand 2001, p. 45. In several hymns the addressee is not named at all; see Morand 2001, p. 48. For example,
161:
conceived of the collection as a "purely literary work", written by a scholar as an exercise, others such as
141:, have been found in inscriptions in the region. In 1910, a number of such inscriptions were discovered in a
494:
animals from the offerings may be related to the supposed prohibition of animal sacrifice in Orphic belief.
1899:
576:
25:
are a collection of eighty-seven hymns addressed to various deities, and are among the few extant works of
53:
is given the place of highest importance. The poems survive through a manuscript which also contained the
1593:
Ricciardelli 2000, p. xxv. According to Morand 2001. pp. 232–5, the group may have been called a
1639:
Morand 2001, pp. 322–4. For a discussion of these substances, see Morand 2001, pp. 118–26.
1417:
57 to Hermes Cthonias as examples of such hymns; cf. Rudhardt 2008, Introduction, paras. 8–16.
888:
Morand 2001, p. 36; Plassmann, p. 161; West 1983, p. 28; cf. Rudhardt 2008, Introduction, para. 25.
841:
828:
739:
229:
in Pergamon, went so far as to state that the group to whom they belonged was an "Orphic society";
1809:
1657:
Morand, p. 324. For an extensive discussion of these offerings, see Morand 2001, pp. 126–37.
1910:
791:
Ricciardelli 2000, p. xxxi; West 1983, pp. 28–9; Otlewska-Jung, p. 77; Morand 2015, p. 209.
555:
310:
12)—and a "logic of cosmogonies" is present in, for example, the placement of the hymns to
445:
themselves, a number of different members of the group's religious hierarchy are mentioned: the
45:"; each individual hymn comes alongside a prescribed offering. Among the deities praised in the
2112:
2094:
1883:
1764:
630:
597:
93:
composition vary widely. While there are several Greek authors who mention hymns attributed to
1791:
113:
judged that they can not have been composed before the 2nd century AD, but were earlier than
407:
350:
argues that the proem was originally a separate Orphic poem, and that this poem was called
294:
6). There often exists a link between adjacent hymns—such as the shared "allness" of
37:, are relatively short in length, and the collection is prefaced by a dedication entitled "
8:
422:
157:
to postulate that the city was the location in which the collection was composed. While
2102:
667:
369:
330:
15–8). Fritz Graf also sees religious significance in the ordering of the hymns.
279:
271:
162:
61:
34:
2081:
Opera inedita: Essai sur la religion grecque & Recherches sur les Hymnes orphiques
1849:
Herrero de Jáuregui, Miguel (2015), "The Poet and His Addressees in Orphic Hymns", in
662:
2124:
2084:
2069:
2054:
2039:
2017:
1998:
1975:
1941:
1914:
1891:
1858:
1835:
1801:
1772:
671:
638:
620:
605:
186:
182:
42:
26:
2053:, pp. 325–348, edited by Alberto Bernabé and Fransec Casadesús, Madrid, Akal, 2008.
1971:
1937:
1854:
1797:
378:
319:
218:
158:
541:
accompanied a nocturnal ritual, which began at dusk and lasted through the night.
2120:
1926:
1784:
1435:
Rudhardt 2008, Introduction, para. 18–9, 22; see also Hopman-Govers, p. 37.
1307:, as saying their name was believed to bring strife upon the person who spoke it.
1241:. West states that "he title would naturally be derived from the references to a
650:
449:, the regular members of the cult (and the group mentioned most frequently); the
413:
2068:, pp. 263–289, edited by Philippe Borgeaud, Geneva, Librairie Droz, 1991.
465:), and who may also have been responsible for displaying holy objects. The term
461:, who seem to have been members involved in initiation rites (similarly to the
457:, who were likely members involved in initiations and ritual activity; and the
1955:
Morand, Anne-France (2010), "Etymologies of divine names in Orphic texts", in
2138:
473:, a religious title which is often used elsewhere to refer to worshippers of
230:
55:
1238:
1180:
1149:
898:
2064:
Rudhardt, Jean (1991), "Quelques réflexions sur les hymnes orphiques", in
66:
2006:
1983:
1866:
1843:
1815:
Graf, Fritz, "Serious Singing: The Orphic Hymns as Religious Texts", in
33:, possibly in the second or third centuries AD. The poems, which are in
1994:
1989:
Otlewska-Jung, Marta, "Orpheus and Orphic Hymns in the Dionysiaca", in
1831:
401:
372:, and also display a consistency in metrical composition. According to
347:
287:
110:
30:
2106:
1820:
1402:
1290:
Morand 2001, p. 47; Morand 2015, p. 215; Ricciardelli 2000, p. xxxii.
529:
1) at the beginning of the collection may reflect the placement of a
426:
295:
154:
74:
1949:
477:, and is connected to Orpheus in some contexts. The use of the word
1577:
1410:
474:
303:
255:
202:
150:
98:
78:
50:
254:, a goddess associated with birth, while the last is dedicated to
1595:
1304:
210:
193:
themselves, there are a few traces of Orpheus as their composer:
146:
134:
94:
70:
38:
1484:
Ricciardelli 2008, pp. 343–4; Morand 2001, pp. 96–7.
1711:
Morand, p. 141. According to Morand, the proem may have been a
1612:, and then a specification of the offering; see Morand, p. 103.
1569:
1394:
396:
388:
311:
246:
214:
114:
77:
postulated that the poems belonged to a religious community in
897:
Morand 2014, pp. 209–10; Morand 2001, p. 36; West 1968,
818:
Herrero de Jauregui 2010, p. 47; Ricciardelli 2000, p. xxviii.
1962:
Morand, Anne-France (2015), "The Narrative Techniques of the
1144:
Otlewska-Jung, p. 77. In a number of manuscripts, the phrase
392:
198:
1970:, pp. 224–43, edited by Andrew Faulkner and Owen Hodkinson,
1853:, pp. 224–43, edited by Andrew Faulkner and Owen Hodkinson,
1675:
Ricciardelli 2000, p. xxxvii; Morand 2001, pp. 151–2.
356:
1794:: Encyclopaedia of the Ancient World. Antiquity, Volume 10
1263:
Rudhardt 1991, p. 264; Rudhardt 2008, Chapter I, para. 21.
2049:
Ricciardelli, Gabriella (2008), "Los Himnos Órficos", in
1046:
Otlewska-Jung, p. 77; Rudhardt 2008, Chapter I, para. 19.
263:
1872:
Hopman-Govers, Marianne, "Le jeu des épithètes dans les
1201:
Ricciardelli 2000, p. xliii; Ricciardelli 2008, p. 329.
967:
Herrero de Jáuregui 2015, p. 231; Morand 2015, p. 212;
1796:, Obl-Phe, editors: Hubert Cancik, Helmuth Schneider,
1192:
Ricciardelli 2000, p. xlii; Ricciardelli 2008, p. 329.
1161:
Morand 2015, p. 209; Herrero de Jáuregui 2015, p. 224.
505:, a rite of initiation into the mysteries. Within the
437:
It is largely accepted in modern scholarship that the
910:
Meisner, pp. 4–5; Ricciardelli 2000, p. xxviii.
1510:
Morand 2001, p. 238; cf. Ricciardelli 2000, p. xxxv.
866:
Ricciardelli 2000, p. xxxiv; Graf, pp. 169–70.
840:
Ricciardelli 2008, p. 325; Athanassakis and Wolkow,
587:. Originally published in 1792; completely outdated.
1968:
Hymnic Narrative and the Narratology of Greek Hymns
1851:
Hymnic Narrative and the Narratology of Greek Hymns
1890:, Berkeley, University of California Press, 1941.
354:(a title listed among the works of Orpheus in the
81:, a view which some later scholars have accepted.
2066:Orphisme et Orphée: en l'honneur de Jean Rudhardt
1993:, pp. 77–96, edited by Konstantinos Spanoudakis,
1462:Morand 2001, pp. 61–8; Morand 2015, p. 218.
1254:Morand 2015, p. 210; Morand 2001, pp. 36–7.
189:", in which the poet addresses his pupil. In the
2136:
1564:Morand 2001, p. 286. The term appears twice, in
2083:, Liege, Presses universitaire de Liège, 2008.
1068:Ricciardelli 2008, p. 329; Morand 2015, p. 213.
1362:Rudhardt 2008, Chapter I, paras. 146–90.
720:Morand 2001, p. 35; Ricciardelli 2000, p. xxx.
602:The Orphic Hymns: Text, Translation, and Notes
565:, Leipzig, Sumptibus Fecit G. Freytag, 1885.
120:A number of early scholars believed that the
544:
125:in particular, the names of deities such as
1132:
521:also contain several instances of the term
1907:Orphic Tradition and the Birth of the Gods
1828:Orphism and Christianity in Late Antiquity
383:, in terms of vocabulary and grammar, the
1923:Online version at Oxford University Press
1498:
711:Herrero de Jáuregui 2010, pp. 35–6.
432:
2097:(1968), "Notes on the Orphic Hymns", in
1771:, Johns Hopkins University Press, 2013.
1086:Morand 2001, p. 43; Morand 2015, p. 213.
637:, Johns Hopkins University Press, 2013.
73:. At the beginning of the 20th century,
1957:Orfeo y el orfismo: nuevas perspectivas
509:, there are numerous references to the
387:find a "distant model" in the works of
84:
2137:
1821:Online version at OpenEdition Journals
1426:Rudhardt 2008, Introduction, para. 26.
1245:at the beginning and end of the poem".
1219:Ricciardelli 2000, pp. xliv–xlv.
537:3) early on is an indication that the
417:. The most distinctive feature of the
326:14) ahead of those to their children (
236:
1303:69 does not name its recipients, the
1055:Otlewska-Jung, p. 77 n. 1; Linforth,
1002:Rudhardt 2008, Introduction, para. 6.
2101:, Vol. 18, No. 2, pp. 288–296.
1826:Herrero de Jáuregui, Miguel (2010),
1475:; Ricciardelli 2008, p. 344–5.
513:, including several mentions of the
213:refers to "mother Calliope and lord
29:. They were most likely composed in
1666:Ricciardelli 2008, pp. 337–8.
923:; Herrero de Jáuregui 2015, p. 230.
181:are one of the few extant works of
137:, otherwise known only through the
13:
2038:, Fondazione Lorenzo Valla, 2000.
764:; Ricciardelli 2000, p. xxxi n. 2.
619:, Fondazione Lorenzo Valla, 2000.
14:
2156:
2014:Orpheus: Altgriechische Mysterien
1580:. For an extensive discussion of
1210:Herrero de Jáuregui 2015, p. 224.
984:Herrero de Jáuregui 2015, p. 229.
941:Herrero de Jáuregui 2015, p. 230.
469:("cowherd") is also found in the
2034:Ricciardelli, Gabriella (2000),
782:Ricciardelli 2000, p. xxxi n. 2.
612:. Uses the Greek text of Quandt.
583:, London, Bertram Dobell, 1824.
1934:Études sur les Hymnes Orphiques
1745:
1736:
1727:
1718:
1705:
1696:
1687:
1678:
1669:
1660:
1651:
1642:
1633:
1624:
1615:
1602:
1587:
1584:, see Morand, pp. 249–82.
1558:
1549:
1540:
1531:
1522:
1513:
1504:
1487:
1478:
1465:
1456:
1447:
1438:
1429:
1420:
1383:
1374:
1365:
1356:
1347:
1337:
1328:
1319:
1310:
1293:
1284:
1275:
1266:
1257:
1248:
1231:
1222:
1213:
1204:
1195:
1186:
1173:
1164:
1155:
1138:
1125:
1116:
1107:
1098:
1089:
1080:
1071:
1062:
1049:
1040:
1027:
1018:
1005:
996:
987:
978:
961:
944:
935:
926:
913:
904:
891:
882:
869:
860:
847:
834:
821:
812:
803:
794:
785:
973:Athanassakis and Wolkow, p. 23
956:Athanassakis and Wolkow, p. 60
776:
767:
754:
745:
732:
723:
714:
705:
689:
258:(Death), and ends in the word
241:In addition to the proem, the
89:Estimates for the date of the
1:
1819:, Vol. 22, pp. 169–182.
1758:
1733:Morand 2001, pp. 145–6.
1724:Morand 2001, pp. 141–2.
1555:Morand 2001, pp. 243–4.
1537:Morand 2001, pp. 237–9.
1528:Morand 2001, pp. 235–7.
1519:Morand 2001, pp. 282–3.
1380:Morand 2001, pp. 49–50.
1334:Morand 2015, pp. 215–6.
1122:Morand 2015, pp. 213–4.
809:Ricciardelli 2000, p. xxviii.
581:The Mystical Hymns of Orpheus
554:, Leipzig, C. Fritsch, 1805.
411:, and several poems from the
2016:, Munich, Diederichs, 1992.
2007:Online version at De Gruyter
1932:Morand, Anne-France (2001),
1900:Online version at HathiTrust
1844:Online version at De Gruyter
1444:Morand 2001, pp. 81–8.
1344:Morand 2001, pp. 48–9.
571:Online version at Wikisource
65:, and the hymns composed by
7:
2051:Orfeo y la tradición órfica
1131:Graf, pp. 171–3. See
1077:Ricciardelli 2000, p. xlii.
800:Ricciardelli 2000, p. xxxi.
700:s.v. Orphism, Orphic poetry
453:, the "new initiates"; the
16:87 hymns to various deities
10:
2161:
1880:, Vol. 14, pp. 35–49.
1767:, and Benjamin M. Wolkow,
1765:Athanassakis, Apostolos N.
1684:Ricciardelli 2000, p. 333.
1113:Ricciardelli 2000, p. xli.
751:Ricciardelli 2000, p. xxx.
633:, and Benjamin M. Wolkow,
631:Athanassakis, Apostolos N.
598:Athanassakis, Apostolos N.
497:The ceremony in which the
2031:, Berlin, Weidmann, 1955.
827:Athanassakis and Wolkow,
738:Athanassakis and Wolkow,
656:Fayant, Marie-Christine,
615:Ricciardelli, Gabriella,
594:, Berlin, Weidmann, 1955.
545:Editions and translations
1281:Morand 2001, pp. 42, 47.
682:
604:, Scholars Press, 1977.
2099:The Classical Quarterly
2079:Rudhardt, Jean (2008),
1984:Online version at Brill
1950:Online version at Brill
1911:Oxford University Press
1867:Online version at Brill
1810:Online version at Brill
2145:Hymns in ancient Greek
1751:Graf, pp. 171–2.
1133:Religious significance
501:played a role was the
433:Religious significance
1471:Morand 2010, p. 157,
1453:Hopman-Govers, p. 44.
950:Morand 2015, p. 212;
857:; Morand 2001, p. 36.
1905:Meisner, Dwayne A.,
1693:Morand 2001, p. 140.
1648:Morand 2001, pp. 324
1499:Date and Composition
1316:Morand 2015, p. 215.
1228:Morand 2015, p. 210.
1095:Morand 2015, p. 213.
932:Morand 2015, p. 211.
408:Greek Magical Papyri
85:Date and composition
1888:The Arts of Orpheus
1497:were composed, see
1353:Morand 2001, p. 59.
1325:Morand 2001, p. 75.
1170:Morand 2001, p. 36.
1146:Εὐτυχῶς χρῶ, ἑταῖρε
1104:Morand 2001, p. 43.
993:Morand 2001, p. 89.
729:Morand 2001, p. 35.
702:; West 1983, p. 29.
237:Structure and style
2012:Plassmann, J. O.,
668:Les Belles Lettres
370:dactylic hexameter
163:Albrecht Dieterich
62:Orphic Argonautica
35:dactylic hexameter
2129:978-0-19-814854-8
2089:978-2-960-07172-6
2074:978-2-600-04359-5
2059:978-8-446-01896-4
2044:978-8-804-47661-0
2027:Quandt, Wilhelm,
2003:978-3-110-33937-6
1980:978-90-04-28813-3
1946:978-900-4-12030-3
1919:978-0-190-66352-0
1896:978-1-258-14946-8
1884:Linforth, Ivan M.
1863:978-90-04-28813-3
1840:978-3-110-20633-3
1806:978-90-04-14215-2
1792:Brill’s New Pauly
1777:978-1-4214-0882-8
975:; Quandt, p. 21).
958:; Quandt, p. 52).
696:Brill's New Pauly
676:978-2-251-00593-5
643:978-1-4214-0882-8
625:978-8-804-47661-0
610:978-0-89130-119-6
590:Quandt, Wilhelm,
221:, who placed the
201:mentions "mother
183:Orphic literature
27:Orphic literature
2152:
2117:The Orphic Poems
1874:Hymnes orphiques
1781:Internet Archive
1769:The Orphic Hymns
1752:
1749:
1743:
1740:
1734:
1731:
1725:
1722:
1716:
1709:
1703:
1700:
1694:
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1676:
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1279:
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1255:
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1226:
1220:
1217:
1211:
1208:
1202:
1199:
1193:
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1184:
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1171:
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1159:
1153:
1142:
1136:
1129:
1123:
1120:
1114:
1111:
1105:
1102:
1096:
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1087:
1084:
1078:
1075:
1069:
1066:
1060:
1053:
1047:
1044:
1038:
1031:
1025:
1024:Guthrie, p. 258.
1022:
1016:
1009:
1003:
1000:
994:
991:
985:
982:
976:
965:
959:
948:
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917:
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902:
895:
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851:
845:
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832:
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819:
816:
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789:
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765:
758:
752:
749:
743:
736:
730:
727:
721:
718:
712:
709:
703:
693:
658:Hymnes Orphiques
647:Internet Archive
635:The Orphic Hymns
585:Internet Archive
567:Internet Archive
561:Abel, Eugenius,
556:Internet Archive
382:
219:W. K. C. Guthrie
165:argued that the
159:Christian Lobeck
2160:
2159:
2155:
2154:
2153:
2151:
2150:
2149:
2135:
2134:
2121:Clarendon Press
1761:
1756:
1755:
1750:
1746:
1741:
1737:
1732:
1728:
1723:
1719:
1713:πάνθειος τελετή
1710:
1706:
1702:Morand, p. 140.
1701:
1697:
1692:
1688:
1683:
1679:
1674:
1670:
1665:
1661:
1656:
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1443:
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1366:
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1348:
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1315:
1311:
1298:
1294:
1289:
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1271:
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1262:
1258:
1253:
1249:
1236:
1232:
1227:
1223:
1218:
1214:
1209:
1205:
1200:
1196:
1191:
1187:
1178:
1174:
1169:
1165:
1160:
1156:
1143:
1139:
1130:
1126:
1121:
1117:
1112:
1108:
1103:
1099:
1094:
1090:
1085:
1081:
1076:
1072:
1067:
1063:
1054:
1050:
1045:
1041:
1035:pp. 188–9
1032:
1028:
1023:
1019:
1010:
1006:
1001:
997:
992:
988:
983:
979:
966:
962:
949:
945:
940:
936:
931:
927:
918:
914:
909:
905:
899:pp. 288–9
896:
892:
887:
883:
874:
870:
865:
861:
852:
848:
839:
835:
826:
822:
817:
813:
808:
804:
799:
795:
790:
786:
781:
777:
772:
768:
762:pp. 182–3
759:
755:
750:
746:
737:
733:
728:
724:
719:
715:
710:
706:
694:
690:
685:
663:Collection Budé
547:
515:πάνθειος τελετή
435:
414:Greek Anthology
376:
239:
87:
17:
12:
11:
5:
2158:
2148:
2147:
2133:
2132:
2123:Oxford, 1983.
2110:
2092:
2077:
2062:
2047:
2032:
2025:
2010:
1987:
1960:
1953:
1930:
1903:
1881:
1870:
1847:
1824:
1813:
1788:
1760:
1757:
1754:
1753:
1744:
1735:
1726:
1717:
1704:
1695:
1686:
1677:
1668:
1659:
1650:
1641:
1632:
1623:
1614:
1601:
1586:
1557:
1548:
1539:
1530:
1521:
1512:
1503:
1486:
1477:
1464:
1455:
1446:
1437:
1428:
1419:
1382:
1373:
1364:
1355:
1346:
1336:
1327:
1318:
1309:
1292:
1283:
1274:
1265:
1256:
1247:
1239:p. 288–9
1230:
1221:
1212:
1203:
1194:
1185:
1172:
1163:
1154:
1137:
1124:
1115:
1106:
1097:
1088:
1079:
1070:
1061:
1048:
1039:
1026:
1017:
1004:
995:
986:
977:
960:
943:
934:
925:
912:
903:
890:
881:
868:
859:
846:
833:
820:
811:
802:
793:
784:
775:
773:Quandt, p. 44.
766:
753:
744:
731:
722:
713:
704:
687:
686:
684:
681:
680:
679:
654:
628:
613:
595:
588:
577:Taylor, Thomas
574:
559:
546:
543:
434:
431:
338:) and prayer (
238:
235:
86:
83:
15:
9:
6:
4:
3:
2:
2157:
2146:
2143:
2142:
2140:
2130:
2126:
2122:
2118:
2114:
2111:
2108:
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2100:
2096:
2093:
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2082:
2078:
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2067:
2063:
2060:
2056:
2052:
2048:
2045:
2041:
2037:
2033:
2030:
2026:
2023:
2022:3-424-00740-4
2019:
2015:
2011:
2008:
2004:
2000:
1996:
1992:
1988:
1985:
1981:
1977:
1973:
1969:
1965:
1961:
1958:
1954:
1951:
1947:
1943:
1939:
1935:
1931:
1928:
1924:
1920:
1916:
1912:
1908:
1904:
1901:
1897:
1893:
1889:
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1879:
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1837:
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1807:
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1793:
1789:
1786:
1782:
1778:
1774:
1770:
1766:
1763:
1762:
1748:
1742:Graf, p. 171.
1739:
1730:
1721:
1714:
1708:
1699:
1690:
1681:
1672:
1663:
1654:
1645:
1636:
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1605:
1598:
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1400:
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1368:
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1287:
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1269:
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1244:
1240:
1234:
1225:
1216:
1207:
1198:
1189:
1182:
1176:
1167:
1158:
1151:
1147:
1141:
1134:
1128:
1119:
1110:
1101:
1092:
1083:
1074:
1065:
1058:
1052:
1043:
1036:
1030:
1021:
1014:
1008:
999:
990:
981:
974:
970:
964:
957:
953:
947:
938:
929:
922:
916:
907:
900:
894:
885:
878:
872:
863:
856:
850:
843:
837:
830:
824:
815:
806:
797:
788:
779:
770:
763:
757:
748:
741:
735:
726:
717:
708:
701:
697:
692:
688:
677:
673:
669:
665:
664:
659:
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636:
632:
629:
626:
622:
618:
614:
611:
607:
603:
599:
596:
593:
589:
586:
582:
578:
575:
572:
568:
564:
560:
557:
553:
550:Hermann, G.,
549:
548:
542:
540:
536:
532:
528:
524:
520:
516:
512:
508:
504:
500:
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492:
486:
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468:
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452:
448:
444:
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416:
415:
410:
409:
404:
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398:
394:
390:
386:
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375:
374:Jean Rudhardt
371:
365:
361:
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331:
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317:
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244:
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231:Ivan Linforth
228:
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208:
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148:
144:
140:
136:
132:
128:
123:
118:
116:
112:
108:
104:
100:
96:
92:
91:Orphic Hymns'
82:
80:
76:
72:
68:
64:
63:
58:
57:
56:Homeric Hymns
52:
48:
44:
40:
36:
32:
28:
24:
23:
2116:
2098:
2080:
2065:
2050:
2035:
2029:Orphei Hymni
2028:
2013:
1990:
1967:
1964:Orphic Hymns
1963:
1956:
1933:
1927:Google Books
1906:
1887:
1877:
1873:
1850:
1827:
1816:
1790:
1785:Google Books
1768:
1747:
1738:
1729:
1720:
1712:
1707:
1698:
1689:
1680:
1671:
1662:
1653:
1644:
1635:
1626:
1617:
1609:
1604:
1594:
1589:
1581:
1573:
1565:
1560:
1551:
1542:
1533:
1524:
1515:
1506:
1494:
1489:
1480:
1472:
1467:
1458:
1449:
1440:
1431:
1422:
1414:
1406:
1398:
1390:
1385:
1376:
1367:
1358:
1349:
1339:
1330:
1321:
1312:
1300:
1295:
1286:
1277:
1268:
1259:
1250:
1242:
1233:
1224:
1215:
1206:
1197:
1188:
1175:
1166:
1157:
1145:
1140:
1127:
1118:
1109:
1100:
1091:
1082:
1073:
1064:
1051:
1042:
1029:
1020:
1007:
998:
989:
980:
968:
963:
951:
946:
937:
928:
915:
906:
893:
884:
871:
862:
849:
836:
823:
814:
805:
796:
787:
778:
769:
756:
747:
734:
725:
716:
707:
695:
691:
661:
657:
651:Google Books
634:
616:
601:
592:Orphei Hymni
591:
580:
562:
551:
538:
534:
530:
526:
522:
518:
514:
510:
506:
502:
498:
496:
490:
487:
482:
478:
470:
466:
462:
458:
454:
450:
446:
442:
439:Orphic Hymns
438:
436:
418:
412:
406:
400:
384:
366:
362:
355:
351:
343:
339:
335:
332:
327:
323:
315:
307:
299:
291:
283:
275:
267:
259:
243:Orphic Hymns
242:
240:
226:
222:
206:
194:
190:
179:Orphic Hymns
178:
176:
170:
166:
153:, which led
142:
138:
121:
119:
106:
102:
90:
88:
60:
54:
46:
22:Orphic Hymns
21:
20:
18:
2113:West, M. L.
2095:West, M. L.
2036:Inni Orfici
1237:West 1968,
1179:West 1968,
1150:p. 288 n. 3
617:Inni Orfici
459:ὀργιοφάντης
377: [
67:Callimachus
1995:De Gruyter
1832:De Gruyter
1759:References
1576:31 to the
1409:38 to the
1393:59 to the
1033:Linforth,
1011:Linforth,
919:Linforth,
875:Linforth,
853:Linforth,
760:Linforth,
463:μυστιπόλος
455:μυστιπόλος
402:Dionysiaca
352:Θυηπολικόν
348:M. L. West
288:Protogonos
252:Prothyraia
209:24 to the
197:76 to the
111:Wilamowitz
31:Asia Minor
1473:et passim
1403:Aphrodite
666:, Paris,
660:, Paris,
531:hekataion
451:νεομύστης
427:asyndeton
155:Otto Kern
75:Otto Kern
2139:Category
2115:(1983),
1997:, 2014.
1974:, 2015.
1940:, 2001.
1913:, 2018.
1857:, 2015.
1834:, 2010.
1800:, 2007.
1582:βουκόλος
1578:Kouretes
1411:Kouretes
1243:θυηπολίη
670:, 2014.
479:βουκόλος
475:Dionysus
467:βουκόλος
423:anaphora
344:θυηπολίη
336:θυηπολίη
318:13) and
304:Heracles
302:11) and
286:5), and
256:Thanatos
203:Calliope
151:Pergamon
99:Stoicism
79:Pergamon
51:Dionysus
1610:θυμίαμα
1596:thiasus
1305:Erinyes
971:24.12 (
954:76.10 (
563:Orphica
552:Orphica
227:temenos
225:at the
211:Nereids
205:", and
187:Musaeus
171:temenos
147:Demeter
143:temenos
135:Melinoe
101:in the
95:Orpheus
71:Proclus
43:Musaeus
39:Orpheus
2127:
2107:638072
2105:
2087:
2072:
2057:
2042:
2020:
2001:
1978:
1966:", in
1944:
1917:
1894:
1878:Kernos
1876:", in
1861:
1838:
1817:Kernos
1804:
1775:
1572:, and
1570:Hecate
1501:above.
1413:, and
1401:55 to
1395:Moirai
1181:p. 288
1135:below.
1057:p. 180
1013:p. 187
921:p. 186
877:p. 185
855:p. 183
674:
641:
623:
608:
523:ὄργιον
511:τελετή
503:τελετή
447:μύσται
405:, the
397:Nonnus
389:Hesiod
312:Cronus
280:Aether
272:Uranus
247:Hecate
215:Apollo
133:, and
115:Nonnus
59:, the
2103:JSTOR
1972:Brill
1938:Brill
1855:Brill
1798:Brill
1568:1 to
1495:Hymns
683:Notes
539:Hymns
519:Hymns
507:Hymns
499:Hymns
483:Hymns
471:Hymns
443:Hymns
419:Hymns
393:Homer
385:Hymns
381:]
260:γῆρας
223:Hymns
199:Muses
191:Hymns
167:Hymns
139:Hymns
131:Hipta
122:Hymns
107:Hymns
103:Hymns
47:Hymns
2125:ISBN
2085:ISBN
2070:ISBN
2055:ISBN
2040:ISBN
2018:ISBN
1999:ISBN
1976:ISBN
1942:ISBN
1915:ISBN
1892:ISBN
1859:ISBN
1836:ISBN
1802:ISBN
1773:ISBN
842:p. x
829:p. x
740:p. x
672:ISBN
639:ISBN
621:ISBN
606:ISBN
391:and
357:Suda
340:εὐχή
320:Rhea
278:4),
270:3),
177:The
127:Mise
69:and
19:The
399:'s
296:Pan
264:Nyx
149:in
145:of
41:to
2141::
2119:,
2005:.
1982:.
1948:.
1936:,
1925:.
1921:.
1909:,
1898:.
1886:,
1865:.
1842:.
1830:,
1808:.
1783:.
1779:.
1574:OH
1566:OH
1415:OH
1407:OH
1405:,
1399:OH
1397:,
1391:OH
1301:OH
969:OH
952:OH
698:,
649:.
645:.
600:,
579:,
569:.
535:OH
527:OH
491:OH
485:.
429:.
379:fr
328:OH
324:OH
316:OH
308:OH
300:OH
292:OH
284:OH
276:OH
268:OH
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