INTRODUCTION
lyre is ascribed to Terpander (flor. 676 B.C). The hymn must therefore be later than that date, though Terpander, according to Weir Smyth,[1] may have only modified the scale of the lyre; yet while the burlesque character precludes an early date, this feature is far removed, as Allen and Sikes remark, from the silliness of the Battle of the Frogs and Mice, so that a date in the earlier part of the sixth century is most probable.
The Hymn to Aphrodite is not the least remarkable, from a literary point of view, of the whole collection, exhibiting as it does in a masterly manner a divine being as the unwilling victim of an irresistible force. It tells how all creatures, and even the gods themselves, are subject to the will of Aphrodite, saving only Artemis, Athena, and Hestia; how Zeus to humble her pride of power caused her to love a mortal, Anchises; and how the goddess visited the hero upon Mt. Ida. A comparison of this work with the Lay of Demodocus (Odyssey viii, 266 ff.), which is superficially similar, will show how far superior is the former in which the goddess is but a victim to forces stronger than herself. The lines (247-255) in which Aphrodite tells of her humiliation and grief are specially noteworthy.
There are only general indications of date. The influence of Hesiod is clear, and the hymn has almost certainly been used by the author of the Hymn to Demeter, so that the date must lie between these two periods, and the seventh century seems to be the latest date possible.
The Hymn to Dionysus relates how the god was seized by pirates and how with many manifestations of power he avenged himself on them by turning them into dolphins. The date is widely disputed, for while
- ↑ Greek Melic Poets, p. 165.
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