Brief Summary

The Homeric Hymns are neither Homeric nor hymns in the way I expected. A look at the meaning of each term should provide a sufficient summary of their origin and content. First we will analyze the term hymn. Though these are not the uniformly organized religious songs that someone from any Christian tradition might expect, they are certainly sacred, and therefore, fit the broad definition of hymns. They are best described as odes to particular gods and goddesses with a few exceptions for demigods such as Herakles. Often they are short and simple preludes to worship that introduce unique characteristics of the deity. However, at times, a hymn might take on a lengthy, rich narrative of its own. This is the case of the emotional Hymn to Demeter and delightful Hymn to Hermes.

The only provable way in which the collection is "Homeric" is that they share the same meter as the Iliad and the Odyssey, hexameter. As with most information about Homer, anything beyond that is obscure. However, style is not the reason that the sacred odes received the stamp of the bard. Actually ancient writers were fairly convinced that the works come from the poets hand (or mouth). Thucydides is confident asserting that the "blind old man of Scio's rocky isle" in the Hymn to Apollo is Homer. However, modern scholars are not convinced and the origins of the works seem varied with some even considered to be later Roman additions.

Regardless of their name and attribution, the works are indeed some of the few high quality and intact examples of pre-fifth century Greek literature. To the careful eye they provide an insight into the culture that preceded and gave rise to one of the most significant golden ages in human history.

Strengths

The oddity and variety of the Homeric Hymns is their strength. As literature they are rather delightful and entertaining, especially the longer narratives. From the deeply human grief of Demeter and the terror in here daughters' kidnapping, to the surreal horror of Dionysus' attack on the Tyrsenian ship, to the charming and sometimes crude humor of the infant Hermes, these works cover a wide range of human experience. Each hymn explores rather distinct features of a god or goddess. This means when they are compiled into an anthology they attain the feel of breadth and specificity.

In fact, their strength, and the strength of polytheism generally, lie in the capacity to reflect specific aspects of reality. This means the gods are unique, and opinionated. For instance, we are introduced to Hera's affection for "the clatter of rattles, the din of kettle drums, and...the wailing of flutes." (Hymn to the Mother of the Gods XIV) and Artemis' love of the hunt and leading dances in the house of her brother, Apollo. In fact, each god and goddess receives a similar treatment with the hymns often outlining an origin story, particular physical and personality traits, and their preferences. In this they become a more particular representation to reflect the particularity of reality that they represent.

However, specificity, by definition, is achieved at the expense of every other possibility. In being the goddess of war Athena has excluded herself from being the goddess of love, or of the hunt. Therefore, no deity attached to a specific realm can represent the abstracted highest of highs. This is where the role of Zeus enters. As the "Most High" god he attains the deep reverence that is most comparable to the Christian image of YHWH. This is clear from the Hymn to the Son of Kronos, Most High (XXIII) which bears the closest resemblance to an Old Testament Psalm. It reveals no clear details of who Zeus is beyond his "greatness." This is a necessary aspect of his role as god of gods. He must be impersonal, because the contrary would pull him out of his abstracted role and into the realm of the specific.

As a small afterword to this section, I would like to note that it seems for the Catholic, the saints serve a similar function to the Greek pantheon of gods and goddesses (excluding Zeus).

Critiques

Ancient and medieval literature is often weighed down by conventions that proved in time to simply be a burden to the reader. For instance, lengthy genealogies, though immensely useful to scholars, are a bore to read. Surprisingly the hymns avoid many of these conventions and are highly engaging. Even the common closing tags which include some variation of "And now I shall remember you and another song too" have a ceremonial charm that matches the sacred song's intended purpose.

Still, there is one literary tool that does detract from the work. This is the listing of locales in the Hymn to Apollo (III). Twice the poet finds an excuse to take a literary journey through Greece in which over a dozen regions and city-states are listed with a few descriptive words. These occur when Leto is looking for a place to give birth and when Apollo is seeking a proper spot for his temple. It seems the intended effect of these passages is the experience of flying over the country with the deity. Sadly, the result is more akin to injecting the "Acknowledgements" section in the middle of a novel. It seems as though the lines are primarily for the benefit of the cities being listed. While I understand the assistance this might present to scholars studying the era, it does not make it any better reading.

The other critique has more to do with the purported setting of the songs. They are posed as preludes, of sorts, for longer reading of epic poetry or rituals. The issue with this is that the longer works, which are also the most entertaining, simply seem too lengthy to serve this role. They appear more likely to be main acts in their own right.

Who Should Read This

The "Homeric Hymns" are not a part of the typical assigned reading when surveying the Ancient Greeks. These lists typically move straight from Homer and Hesiod to either the playwrights, historians, or philosophers of the fifth century (with the occasional inclusion of some of the lyric poets). This is reasonable seeing as time is a valuable commodity and the typical "surveyor" is wanting to grasp the essence of a subject quickly.

There are two broad reasons someone might consider delving into the hymns: to prepare for reading other literature or to broaden your understanding of the Greeks. Only in the second case would I recommend reading the hymns. It is no secret that a prerequisite to engaging with the western canon is a general knowledge of both the Biblical tradition and Greco-Roman myth. However, the "Homeric Hymns" are not an efficient means of acquiring this knowledge. Edith Hamilton's "Mythology" would serve that purpose much better. It quickly provides more breadth and has become a classic in its own right at this point.

Therefore, the hymns are most appropriate for the reader who has read other major Greek works and wants to broaden their understanding of the Greek people. This was my experience. I enjoyed Homer and Hesiod's Works and Days (Theogony was rather poorly written) and was looking to understand more of the Hellenic culture before engaging with the great works of the fifth century. My love of history inclines me towards primary sources when the culture is interesting. The Homeric Hymns fit the bill quite nicely.

For those interested in sampling this already short work, I would recommend the following selections: Hymn to Demeter II, Hymn to Hermes IV, Hymn to Aphrodite V, and Hymn to Dionysos VII.