375:
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.
353:), 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
228:", 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.
1194:; 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".
108:, 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
500:
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;
1354:
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
504:
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
374:
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
135:
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;
344:
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
499:
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
436:, 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
128:, 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.
273:("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
184:
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.
371:). 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.
116:, 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
260:
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
378:
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
406:, 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
452:
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
180:
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
544:
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 (
1619:
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
1283:
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.
196:. 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
710:
528:, 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
1632:
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.
137:
1970:, pp. 157–176, edited by Alberto Bernabé, Fransec Casadesús, and Marco Antonio Santamaria, Alicante, Biblioteca Virtual Miguel de Cervantes, 2010.
432:
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
384:
345:
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 (
1382:
Morand 2001, p. 49. The point at which the request begins is almost always easily distinguishable; see
Rudhardt 2008, Chapter I, para. 146.
262:
1933:
357:("a ritual usually linked with sacrifice"), which does not appear in the rest of the collection, at the beginning and end of the proem,
1159:("use it favourably, friend") is added behind the title; see Morand 2015, p. 211 with n. 9; Ricciardelli 2008, p. 328; West 1968,
1504:
Ricciardelli 2000, p. xxxiv; Graf, p. 170; see also
Linforth, p. 186. For a discussion of where this group existed, and when the
141:
1400:
Ricciardelli 2008, p. 345; Ricciardelli 2000, pp. xxxi–ii; Rudhardt 2008, Introduction, para. 25. Ricciardelli 2000 cites
536:, which may refer to sacred objects which featured in the rite. According to Fritz Graf, the placement of the hymn to Hecate (
256:
consist of 87 very brief poems, which range from 6 to 30 lines in length. In the surviving manuscripts, the hymn addressed to
2139:
2099:
2084:
2069:
2054:
2013:
1990:
1956:
1929:
1906:
1873:
1850:
1816:
1787:
686:
653:
635:
620:
244:, however, contests that it is equally likely that the name of Orpheus was simply stamped upon the work for its "prestige".
2002:
Nonnus of
Panopolis in Context: Poetry and Cultural Milieu in Late Antiquity with a Section on Nonnus and the Modern World
1641:
Morand 2001, pp. 150–1. Morand states that grain, the offering to Earth, might be the possible exception to this.
581:
595:
2032:
1067:
1045:
1023:
931:
887:
865:
772:
577:
2155:
492:
and the prominence of Dionysus in the collection indicate that he was the central god of the cult which used the
1791:
983:
966:
657:
1557:
Morand 2001, pp. 240–2. The term means "clothed with mystical power", or "with the power of mysteries".
1310:
Morand 2001, p. 45. In several hymns the addressee is not named at all; see Morand 2001, p. 48. For example,
172:
conceived of the collection as a "purely literary work", written by a scholar as an exercise, others such as
152:, have been found in inscriptions in the region. In 1910, a number of such inscriptions were discovered in a
505:
animals from the offerings may be related to the supposed prohibition of animal sacrifice in Orphic belief.
1910:
587:
36:
are a collection of eighty-seven hymns addressed to various deities, and are among the few extant works of
64:
is given the place of highest importance. The poems survive through a manuscript which also contained the
17:
1604:
Ricciardelli 2000, p. xxv. According to Morand 2001. pp. 232–5, the group may have been called a
1650:
Morand 2001, pp. 322–4. For a discussion of these substances, see Morand 2001, pp. 118–26.
1428:
57 to Hermes Cthonias as examples of such hymns; cf. Rudhardt 2008, Introduction, paras. 8–16.
899:
Morand 2001, p. 36; Plassmann, p. 161; West 1983, p. 28; cf. Rudhardt 2008, Introduction, para. 25.
852:
839:
750:
240:
in Pergamon, went so far as to state that the group to whom they belonged was an "Orphic society";
1820:
1668:
Morand, p. 324. For an extensive discussion of these offerings, see Morand 2001, pp. 126–37.
1921:
802:
Ricciardelli 2000, p. xxxi; West 1983, pp. 28–9; Otlewska-Jung, p. 77; Morand 2015, p. 209.
566:
321:
12)—and a "logic of cosmogonies" is present in, for example, the placement of the hymns to
456:
themselves, a number of different members of the group's religious hierarchy are mentioned: the
56:"; each individual hymn comes alongside a prescribed offering. Among the deities praised in the
2123:
2105:
1894:
1775:
641:
608:
104:
composition vary widely. While there are several Greek authors who mention hymns attributed to
1802:
124:
judged that they can not have been composed before the 2nd century AD, but were earlier than
418:
361:
argues that the proem was originally a separate Orphic poem, and that this poem was called
305:
6). There often exists a link between adjacent hymns—such as the shared "allness" of
48:, are relatively short in length, and the collection is prefaced by a dedication entitled "
8:
433:
168:
to postulate that the city was the location in which the collection was composed. While
2113:
678:
380:
341:
15–8). Fritz Graf also sees religious significance in the ordering of the hymns.
290:
282:
173:
72:
45:
2092:
Opera inedita: Essai sur la religion grecque & Recherches sur les Hymnes orphiques
1860:
Herrero de Jáuregui, Miguel (2015), "The Poet and His Addressees in Orphic Hymns", in
673:
2135:
2095:
2080:
2065:
2050:
2028:
2009:
1986:
1952:
1925:
1902:
1869:
1846:
1812:
1783:
682:
649:
631:
616:
197:
193:
53:
37:
2064:, pp. 325–348, edited by Alberto Bernabé and Fransec Casadesús, Madrid, Akal, 2008.
1982:
1948:
1865:
1808:
389:
330:
229:
169:
552:
accompanied a nocturnal ritual, which began at dusk and lasted through the night.
2131:
1937:
1795:
1446:
Rudhardt 2008, Introduction, para. 18–9, 22; see also Hopman-Govers, p. 37.
1318:, as saying their name was believed to bring strife upon the person who spoke it.
1252:. West states that "he title would naturally be derived from the references to a
661:
460:, the regular members of the cult (and the group mentioned most frequently); the
424:
2079:, pp. 263–289, edited by Philippe Borgeaud, Geneva, Librairie Droz, 1991.
476:), and who may also have been responsible for displaying holy objects. The term
472:, who seem to have been members involved in initiation rites (similarly to the
468:, who were likely members involved in initiations and ritual activity; and the
1966:
Morand, Anne-France (2010), "Etymologies of divine names in Orphic texts", in
2149:
484:, a religious title which is often used elsewhere to refer to worshippers of
241:
66:
1249:
1191:
1160:
909:
2075:
Rudhardt, Jean (1991), "Quelques réflexions sur les hymnes orphiques", in
77:
2017:
1994:
1877:
1854:
1826:
Graf, Fritz, "Serious Singing: The Orphic Hymns as Religious Texts", in
44:, possibly in the second or third centuries AD. The poems, which are in
2005:
2000:
Otlewska-Jung, Marta, "Orpheus and Orphic Hymns in the Dionysiaca", in
1842:
412:
383:, and also display a consistency in metrical composition. According to
358:
298:
121:
41:
2117:
1831:
1413:
1301:
Morand 2001, p. 47; Morand 2015, p. 215; Ricciardelli 2000, p. xxxii.
540:
1) at the beginning of the collection may reflect the placement of a
437:
306:
165:
85:
1960:
488:, and is connected to Orpheus in some contexts. The use of the word
1588:
1421:
485:
314:
266:
213:
161:
109:
89:
61:
265:, a goddess associated with birth, while the last is dedicated to
1606:
1315:
221:
204:
themselves, there are a few traces of Orpheus as their composer:
157:
145:
105:
81:
49:
1495:
Ricciardelli 2008, pp. 343–4; Morand 2001, pp. 96–7.
1722:
Morand, p. 141. According to Morand, the proem may have been a
1623:, and then a specification of the offering; see Morand, p. 103.
1580:
1405:
407:
399:
322:
257:
225:
125:
88:
postulated that the poems belonged to a religious community in
908:
Morand 2014, pp. 209–10; Morand 2001, p. 36; West 1968,
829:
Herrero de Jauregui 2010, p. 47; Ricciardelli 2000, p. xxviii.
1973:
Morand, Anne-France (2015), "The Narrative Techniques of the
1155:
Otlewska-Jung, p. 77. In a number of manuscripts, the phrase
403:
209:
1981:, pp. 224–43, edited by Andrew Faulkner and Owen Hodkinson,
1864:, pp. 224–43, edited by Andrew Faulkner and Owen Hodkinson,
1686:
Ricciardelli 2000, p. xxxvii; Morand 2001, pp. 151–2.
367:
1805:: Encyclopaedia of the Ancient World. Antiquity, Volume 10
1274:
Rudhardt 1991, p. 264; Rudhardt 2008, Chapter I, para. 21.
2060:
Ricciardelli, Gabriella (2008), "Los Himnos Órficos", in
1057:
Otlewska-Jung, p. 77; Rudhardt 2008, Chapter I, para. 19.
274:
1883:
Hopman-Govers, Marianne, "Le jeu des épithètes dans les
1212:
Ricciardelli 2000, p. xliii; Ricciardelli 2008, p. 329.
978:
Herrero de Jáuregui 2015, p. 231; Morand 2015, p. 212;
1807:, Obl-Phe, editors: Hubert Cancik, Helmuth Schneider,
1203:
Ricciardelli 2000, p. xlii; Ricciardelli 2008, p. 329.
1172:
Morand 2015, p. 209; Herrero de Jáuregui 2015, p. 224.
516:, a rite of initiation into the mysteries. Within the
448:
It is largely accepted in modern scholarship that the
921:
Meisner, pp. 4–5; Ricciardelli 2000, p. xxviii.
1521:
Morand 2001, p. 238; cf. Ricciardelli 2000, p. xxxv.
877:
Ricciardelli 2000, p. xxxiv; Graf, pp. 169–70.
851:
Ricciardelli 2008, p. 325; Athanassakis and Wolkow,
598:. Originally published in 1792; completely outdated.
1979:
Hymnic Narrative and the Narratology of Greek Hymns
1862:
Hymnic Narrative and the Narratology of Greek Hymns
1901:, Berkeley, University of California Press, 1941.
365:(a title listed among the works of Orpheus in the
92:, a view which some later scholars have accepted.
2077:Orphisme et Orphée: en l'honneur de Jean Rudhardt
2004:, pp. 77–96, edited by Konstantinos Spanoudakis,
1473:Morand 2001, pp. 61–8; Morand 2015, p. 218.
1265:Morand 2015, p. 210; Morand 2001, pp. 36–7.
200:", in which the poet addresses his pupil. In the
2147:
1575:Morand 2001, p. 286. The term appears twice, in
2094:, Liege, Presses universitaire de Liège, 2008.
1079:Ricciardelli 2008, p. 329; Morand 2015, p. 213.
1373:Rudhardt 2008, Chapter I, paras. 146–90.
731:Morand 2001, p. 35; Ricciardelli 2000, p. xxx.
613:The Orphic Hymns: Text, Translation, and Notes
576:, Leipzig, Sumptibus Fecit G. Freytag, 1885.
131:A number of early scholars believed that the
555:
136:in particular, the names of deities such as
1143:
532:also contain several instances of the term
1918:Orphic Tradition and the Birth of the Gods
1839:Orphism and Christianity in Late Antiquity
394:, in terms of vocabulary and grammar, the
1934:Online version at Oxford University Press
1509:
722:Herrero de Jáuregui 2010, pp. 35–6.
443:
2108:(1968), "Notes on the Orphic Hymns", in
1782:, Johns Hopkins University Press, 2013.
1097:Morand 2001, p. 43; Morand 2015, p. 213.
648:, Johns Hopkins University Press, 2013.
84:. At the beginning of the 20th century,
1968:Orfeo y el orfismo: nuevas perspectivas
520:, there are numerous references to the
398:find a "distant model" in the works of
95:
14:
2148:
1832:Online version at OpenEdition Journals
1437:Rudhardt 2008, Introduction, para. 26.
1256:at the beginning and end of the poem".
1230:Ricciardelli 2000, pp. xliv–xlv.
548:3) early on is an indication that the
428:. The most distinctive feature of the
337:14) ahead of those to their children (
247:
1314:69 does not name its recipients, the
1066:Otlewska-Jung, p. 77 n. 1; Linforth,
1013:Rudhardt 2008, Introduction, para. 6.
2112:, Vol. 18, No. 2, pp. 288–296.
1837:Herrero de Jáuregui, Miguel (2010),
1486:; Ricciardelli 2008, p. 344–5.
524:, including several mentions of the
224:refers to "mother Calliope and lord
40:. They were most likely composed in
1677:Ricciardelli 2008, pp. 337–8.
934:; Herrero de Jáuregui 2015, p. 230.
192:are one of the few extant works of
148:, otherwise known only through the
24:
2049:, Fondazione Lorenzo Valla, 2000.
775:; Ricciardelli 2000, p. xxxi n. 2.
630:, Fondazione Lorenzo Valla, 2000.
25:
2167:
2025:Orpheus: Altgriechische Mysterien
1591:. For an extensive discussion of
1221:Herrero de Jáuregui 2015, p. 224.
995:Herrero de Jáuregui 2015, p. 229.
952:Herrero de Jáuregui 2015, p. 230.
480:("cowherd") is also found in the
2045:Ricciardelli, Gabriella (2000),
793:Ricciardelli 2000, p. xxxi n. 2.
623:. Uses the Greek text of Quandt.
594:, London, Bertram Dobell, 1824.
1945:Études sur les Hymnes Orphiques
1756:
1747:
1738:
1729:
1716:
1707:
1698:
1689:
1680:
1671:
1662:
1653:
1644:
1635:
1626:
1613:
1598:
1595:, see Morand, pp. 249–82.
1569:
1560:
1551:
1542:
1533:
1524:
1515:
1498:
1489:
1476:
1467:
1458:
1449:
1440:
1431:
1394:
1385:
1376:
1367:
1358:
1348:
1339:
1330:
1321:
1304:
1295:
1286:
1277:
1268:
1259:
1242:
1233:
1224:
1215:
1206:
1197:
1184:
1175:
1166:
1149:
1136:
1127:
1118:
1109:
1100:
1091:
1082:
1073:
1060:
1051:
1038:
1029:
1016:
1007:
998:
989:
972:
955:
946:
937:
924:
915:
902:
893:
880:
871:
858:
845:
832:
823:
814:
805:
796:
984:Athanassakis and Wolkow, p. 23
967:Athanassakis and Wolkow, p. 60
787:
778:
765:
756:
743:
734:
725:
716:
700:
269:(Death), and ends in the word
252:In addition to the proem, the
100:Estimates for the date of the
13:
1:
1830:, Vol. 22, pp. 169–182.
1769:
1744:Morand 2001, pp. 145–6.
1735:Morand 2001, pp. 141–2.
1566:Morand 2001, pp. 243–4.
1548:Morand 2001, pp. 237–9.
1539:Morand 2001, pp. 235–7.
1530:Morand 2001, pp. 282–3.
1391:Morand 2001, pp. 49–50.
1345:Morand 2015, pp. 215–6.
1133:Morand 2015, pp. 213–4.
820:Ricciardelli 2000, p. xxviii.
592:The Mystical Hymns of Orpheus
565:, Leipzig, C. Fritsch, 1805.
422:, and several poems from the
2027:, Munich, Diederichs, 1992.
2018:Online version at De Gruyter
1943:Morand, Anne-France (2001),
1911:Online version at HathiTrust
1855:Online version at De Gruyter
1455:Morand 2001, pp. 81–8.
1355:Morand 2001, pp. 48–9.
582:Online version at Wikisource
76:, and the hymns composed by
7:
2062:Orfeo y la tradición órfica
1142:Graf, pp. 171–3. See
1088:Ricciardelli 2000, p. xlii.
811:Ricciardelli 2000, p. xxxi.
711:s.v. Orphism, Orphic poetry
464:, the "new initiates"; the
27:87 hymns to various deities
10:
2172:
1891:, Vol. 14, pp. 35–49.
1778:, and Benjamin M. Wolkow,
1776:Athanassakis, Apostolos N.
1695:Ricciardelli 2000, p. 333.
1124:Ricciardelli 2000, p. xli.
762:Ricciardelli 2000, p. xxx.
644:, and Benjamin M. Wolkow,
642:Athanassakis, Apostolos N.
609:Athanassakis, Apostolos N.
508:The ceremony in which the
2042:, Berlin, Weidmann, 1955.
838:Athanassakis and Wolkow,
749:Athanassakis and Wolkow,
667:Fayant, Marie-Christine,
626:Ricciardelli, Gabriella,
605:, Berlin, Weidmann, 1955.
556:Editions and translations
1292:Morand 2001, pp. 42, 47.
693:
615:, Scholars Press, 1977.
2110:The Classical Quarterly
2090:Rudhardt, Jean (2008),
1995:Online version at Brill
1961:Online version at Brill
1922:Oxford University Press
1878:Online version at Brill
1821:Online version at Brill
2156:Hymns in ancient Greek
1762:Graf, pp. 171–2.
1144:Religious significance
512:played a role was the
444:Religious significance
1482:Morand 2010, p. 157,
1464:Hopman-Govers, p. 44.
961:Morand 2015, p. 212;
868:; Morand 2001, p. 36.
1916:Meisner, Dwayne A.,
1704:Morand 2001, p. 140.
1659:Morand 2001, pp. 324
1510:Date and Composition
1327:Morand 2015, p. 215.
1239:Morand 2015, p. 210.
1106:Morand 2015, p. 213.
943:Morand 2015, p. 211.
419:Greek Magical Papyri
96:Date and composition
1899:The Arts of Orpheus
1508:were composed, see
1364:Morand 2001, p. 59.
1336:Morand 2001, p. 75.
1181:Morand 2001, p. 36.
1157:Εὐτυχῶς χρῶ, ἑταῖρε
1115:Morand 2001, p. 43.
1004:Morand 2001, p. 89.
740:Morand 2001, p. 35.
713:; West 1983, p. 29.
248:Structure and style
2023:Plassmann, J. O.,
679:Les Belles Lettres
381:dactylic hexameter
174:Albrecht Dieterich
73:Orphic Argonautica
46:dactylic hexameter
2140:978-0-19-814854-8
2100:978-2-960-07172-6
2085:978-2-600-04359-5
2070:978-8-446-01896-4
2055:978-8-804-47661-0
2038:Quandt, Wilhelm,
2014:978-3-110-33937-6
1991:978-90-04-28813-3
1957:978-900-4-12030-3
1930:978-0-190-66352-0
1907:978-1-258-14946-8
1895:Linforth, Ivan M.
1874:978-90-04-28813-3
1851:978-3-110-20633-3
1817:978-90-04-14215-2
1803:Brill’s New Pauly
1788:978-1-4214-0882-8
986:; Quandt, p. 21).
969:; Quandt, p. 52).
707:Brill's New Pauly
687:978-2-251-00593-5
654:978-1-4214-0882-8
636:978-8-804-47661-0
621:978-0-89130-119-6
601:Quandt, Wilhelm,
232:, who placed the
212:mentions "mother
194:Orphic literature
38:Orphic literature
16:(Redirected from
2163:
2128:The Orphic Poems
1885:Hymnes orphiques
1792:Internet Archive
1780:The Orphic Hymns
1763:
1760:
1754:
1751:
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1195:
1188:
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1140:
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1125:
1122:
1116:
1113:
1107:
1104:
1098:
1095:
1089:
1086:
1080:
1077:
1071:
1064:
1058:
1055:
1049:
1042:
1036:
1035:Guthrie, p. 258.
1033:
1027:
1020:
1014:
1011:
1005:
1002:
996:
993:
987:
976:
970:
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849:
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836:
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827:
821:
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769:
763:
760:
754:
747:
741:
738:
732:
729:
723:
720:
714:
704:
669:Hymnes Orphiques
658:Internet Archive
646:The Orphic Hymns
596:Internet Archive
578:Internet Archive
572:Abel, Eugenius,
567:Internet Archive
393:
230:W. K. C. Guthrie
176:argued that the
170:Christian Lobeck
21:
2171:
2170:
2166:
2165:
2164:
2162:
2161:
2160:
2146:
2145:
2132:Clarendon Press
1772:
1767:
1766:
1761:
1757:
1752:
1748:
1743:
1739:
1734:
1730:
1724:πάνθειος τελετή
1721:
1717:
1713:Morand, p. 140.
1712:
1708:
1703:
1699:
1694:
1690:
1685:
1681:
1676:
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1273:
1269:
1264:
1260:
1247:
1243:
1238:
1234:
1229:
1225:
1220:
1216:
1211:
1207:
1202:
1198:
1189:
1185:
1180:
1176:
1171:
1167:
1154:
1150:
1141:
1137:
1132:
1128:
1123:
1119:
1114:
1110:
1105:
1101:
1096:
1092:
1087:
1083:
1078:
1074:
1065:
1061:
1056:
1052:
1046:pp. 188–9
1043:
1039:
1034:
1030:
1021:
1017:
1012:
1008:
1003:
999:
994:
990:
977:
973:
960:
956:
951:
947:
942:
938:
929:
925:
920:
916:
910:pp. 288–9
907:
903:
898:
894:
885:
881:
876:
872:
863:
859:
850:
846:
837:
833:
828:
824:
819:
815:
810:
806:
801:
797:
792:
788:
783:
779:
773:pp. 182–3
770:
766:
761:
757:
748:
744:
739:
735:
730:
726:
721:
717:
705:
701:
696:
674:Collection Budé
558:
526:πάνθειος τελετή
446:
425:Greek Anthology
387:
250:
98:
28:
23:
22:
15:
12:
11:
5:
2169:
2159:
2158:
2144:
2143:
2134:Oxford, 1983.
2121:
2103:
2088:
2073:
2058:
2043:
2036:
2021:
1998:
1971:
1964:
1941:
1914:
1892:
1881:
1858:
1835:
1824:
1799:
1771:
1768:
1765:
1764:
1755:
1746:
1737:
1728:
1715:
1706:
1697:
1688:
1679:
1670:
1661:
1652:
1643:
1634:
1625:
1612:
1597:
1568:
1559:
1550:
1541:
1532:
1523:
1514:
1497:
1488:
1475:
1466:
1457:
1448:
1439:
1430:
1393:
1384:
1375:
1366:
1357:
1347:
1338:
1329:
1320:
1303:
1294:
1285:
1276:
1267:
1258:
1250:p. 288–9
1241:
1232:
1223:
1214:
1205:
1196:
1183:
1174:
1165:
1148:
1135:
1126:
1117:
1108:
1099:
1090:
1081:
1072:
1059:
1050:
1037:
1028:
1015:
1006:
997:
988:
971:
954:
945:
936:
923:
914:
901:
892:
879:
870:
857:
844:
831:
822:
813:
804:
795:
786:
784:Quandt, p. 44.
777:
764:
755:
742:
733:
724:
715:
698:
697:
695:
692:
691:
690:
665:
639:
624:
606:
599:
588:Taylor, Thomas
585:
570:
557:
554:
445:
442:
349:) and prayer (
249:
246:
97:
94:
26:
9:
6:
4:
3:
2:
2168:
2157:
2154:
2153:
2151:
2141:
2137:
2133:
2129:
2125:
2122:
2119:
2115:
2111:
2107:
2104:
2101:
2097:
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2078:
2074:
2071:
2067:
2063:
2059:
2056:
2052:
2048:
2044:
2041:
2037:
2034:
2033:3-424-00740-4
2030:
2026:
2022:
2019:
2015:
2011:
2007:
2003:
1999:
1996:
1992:
1988:
1984:
1980:
1976:
1972:
1969:
1965:
1962:
1958:
1954:
1950:
1946:
1942:
1939:
1935:
1931:
1927:
1923:
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1804:
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1797:
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1785:
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1777:
1774:
1773:
1759:
1753:Graf, p. 171.
1750:
1741:
1732:
1725:
1719:
1710:
1701:
1692:
1683:
1674:
1665:
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1255:
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1227:
1218:
1209:
1200:
1193:
1187:
1178:
1169:
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1158:
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1145:
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1130:
1121:
1112:
1103:
1094:
1085:
1076:
1069:
1063:
1054:
1047:
1041:
1032:
1025:
1019:
1010:
1001:
992:
985:
981:
975:
968:
964:
958:
949:
940:
933:
927:
918:
911:
905:
896:
889:
883:
874:
867:
861:
854:
848:
841:
835:
826:
817:
808:
799:
790:
781:
774:
768:
759:
752:
746:
737:
728:
719:
712:
708:
703:
699:
688:
684:
680:
676:
675:
670:
666:
663:
659:
655:
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647:
643:
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637:
633:
629:
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614:
610:
607:
604:
600:
597:
593:
589:
586:
583:
579:
575:
571:
568:
564:
561:Hermann, G.,
560:
559:
553:
551:
547:
543:
539:
535:
531:
527:
523:
519:
515:
511:
506:
503:
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435:
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427:
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420:
415:
414:
409:
405:
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397:
391:
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385:Jean Rudhardt
382:
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364:
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264:
259:
255:
245:
243:
242:Ivan Linforth
239:
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186:
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159:
155:
151:
147:
143:
139:
134:
129:
127:
123:
119:
115:
111:
107:
103:
102:Orphic Hymns'
93:
91:
87:
83:
79:
75:
74:
69:
68:
67:Homeric Hymns
63:
59:
55:
51:
47:
43:
39:
35:
34:
19:
2127:
2109:
2091:
2076:
2061:
2046:
2040:Orphei Hymni
2039:
2024:
2001:
1978:
1975:Orphic Hymns
1974:
1967:
1944:
1938:Google Books
1917:
1898:
1888:
1884:
1861:
1838:
1827:
1801:
1796:Google Books
1779:
1758:
1749:
1740:
1731:
1723:
1718:
1709:
1700:
1691:
1682:
1673:
1664:
1655:
1646:
1637:
1628:
1620:
1615:
1605:
1600:
1592:
1584:
1576:
1571:
1562:
1553:
1544:
1535:
1526:
1517:
1505:
1500:
1491:
1483:
1478:
1469:
1460:
1451:
1442:
1433:
1425:
1417:
1409:
1401:
1396:
1387:
1378:
1369:
1360:
1350:
1341:
1332:
1323:
1311:
1306:
1297:
1288:
1279:
1270:
1261:
1253:
1244:
1235:
1226:
1217:
1208:
1199:
1186:
1177:
1168:
1156:
1151:
1138:
1129:
1120:
1111:
1102:
1093:
1084:
1075:
1062:
1053:
1040:
1031:
1018:
1009:
1000:
991:
979:
974:
962:
957:
948:
939:
926:
917:
904:
895:
882:
873:
860:
847:
834:
825:
816:
807:
798:
789:
780:
767:
758:
745:
736:
727:
718:
706:
702:
672:
668:
662:Google Books
645:
627:
612:
603:Orphei Hymni
602:
591:
573:
562:
549:
545:
541:
537:
533:
529:
525:
521:
517:
513:
509:
507:
501:
498:
493:
489:
481:
477:
473:
469:
465:
461:
457:
453:
450:Orphic Hymns
449:
447:
429:
423:
417:
411:
395:
377:
373:
366:
362:
354:
350:
346:
343:
338:
334:
326:
318:
310:
302:
294:
286:
278:
270:
254:Orphic Hymns
253:
251:
237:
233:
217:
205:
201:
190:Orphic Hymns
189:
187:
181:
177:
164:, which led
153:
149:
132:
130:
117:
113:
101:
99:
71:
65:
57:
33:Orphic Hymns
32:
31:
29:
2124:West, M. L.
2106:West, M. L.
2047:Inni Orfici
1248:West 1968,
1190:West 1968,
1161:p. 288 n. 3
628:Inni Orfici
470:ὀργιοφάντης
388: [
78:Callimachus
18:Orphic Hymn
2006:De Gruyter
1843:De Gruyter
1770:References
1587:31 to the
1420:38 to the
1404:59 to the
1044:Linforth,
1022:Linforth,
930:Linforth,
886:Linforth,
864:Linforth,
771:Linforth,
474:μυστιπόλος
466:μυστιπόλος
413:Dionysiaca
363:Θυηπολικόν
359:M. L. West
299:Protogonos
263:Prothyraia
220:24 to the
208:76 to the
122:Wilamowitz
42:Asia Minor
1484:et passim
1414:Aphrodite
677:, Paris,
671:, Paris,
542:hekataion
462:νεομύστης
438:asyndeton
166:Otto Kern
86:Otto Kern
2150:Category
2126:(1983),
2008:, 2014.
1985:, 2015.
1951:, 2001.
1924:, 2018.
1868:, 2015.
1845:, 2010.
1811:, 2007.
1593:βουκόλος
1589:Kouretes
1422:Kouretes
1254:θυηπολίη
681:, 2014.
490:βουκόλος
486:Dionysus
478:βουκόλος
434:anaphora
355:θυηπολίη
347:θυηπολίη
329:13) and
315:Heracles
313:11) and
297:5), and
267:Thanatos
214:Calliope
162:Pergamon
110:Stoicism
90:Pergamon
62:Dionysus
1621:θυμίαμα
1607:thiasus
1316:Erinyes
982:24.12 (
965:76.10 (
574:Orphica
563:Orphica
238:temenos
236:at the
222:Nereids
216:", and
198:Musaeus
182:temenos
158:Demeter
154:temenos
146:Melinoe
112:in the
106:Orpheus
82:Proclus
54:Musaeus
50:Orpheus
2138:
2118:638072
2116:
2098:
2083:
2068:
2053:
2031:
2012:
1989:
1977:", in
1955:
1928:
1905:
1889:Kernos
1887:", in
1872:
1849:
1828:Kernos
1815:
1786:
1583:, and
1581:Hecate
1512:above.
1424:, and
1412:55 to
1406:Moirai
1192:p. 288
1146:below.
1068:p. 180
1024:p. 187
932:p. 186
888:p. 185
866:p. 183
685:
652:
634:
619:
534:ὄργιον
522:τελετή
514:τελετή
458:μύσται
416:, the
408:Nonnus
400:Hesiod
323:Cronus
291:Aether
283:Uranus
258:Hecate
226:Apollo
144:, and
126:Nonnus
70:, the
2114:JSTOR
1983:Brill
1949:Brill
1866:Brill
1809:Brill
1579:1 to
1506:Hymns
694:Notes
550:Hymns
530:Hymns
518:Hymns
510:Hymns
494:Hymns
482:Hymns
454:Hymns
430:Hymns
404:Homer
396:Hymns
392:]
271:γῆρας
234:Hymns
210:Muses
202:Hymns
178:Hymns
150:Hymns
142:Hipta
133:Hymns
118:Hymns
114:Hymns
58:Hymns
2136:ISBN
2096:ISBN
2081:ISBN
2066:ISBN
2051:ISBN
2029:ISBN
2010:ISBN
1987:ISBN
1953:ISBN
1926:ISBN
1903:ISBN
1870:ISBN
1847:ISBN
1813:ISBN
1784:ISBN
853:p. x
840:p. x
751:p. x
683:ISBN
650:ISBN
632:ISBN
617:ISBN
402:and
368:Suda
351:εὐχή
331:Rhea
289:4),
281:3),
188:The
138:Mise
80:and
30:The
410:'s
307:Pan
275:Nyx
160:in
156:of
52:to
2152::
2130:,
2016:.
1993:.
1959:.
1947:,
1936:.
1932:.
1920:,
1909:.
1897:,
1876:.
1853:.
1841:,
1819:.
1794:.
1790:.
1585:OH
1577:OH
1426:OH
1418:OH
1416:,
1410:OH
1408:,
1402:OH
1312:OH
980:OH
963:OH
709:,
660:.
656:.
611:,
590:,
580:.
546:OH
538:OH
502:OH
496:.
440:.
390:fr
339:OH
335:OH
327:OH
319:OH
311:OH
303:OH
295:OH
287:OH
279:OH
218:OH
206:OH
140:,
120:,
60:,
2142:.
2120:.
2102:.
2087:.
2072:.
2057:.
2035:.
2020:.
1997:.
1963:.
1940:.
1913:.
1880:.
1857:.
1834:.
1823:.
1798:.
1726:.
1610:.
1163:.
1070:.
1048:.
1026:.
912:.
890:.
855:.
842:.
753:.
689:.
664:.
638:.
584:.
569:.
333:(
325:(
317:(
309:(
301:(
293:(
285:(
277:(
20:)
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