returning from the chase, and how he joins in dancing with the nymphs who sing the story of his birth. This, beyond most works of Greek literature, is remarkable for its fresh and spontaneous love of wild natural scenes.
The remaining hymns are mostly of the briefest compass, merely hailing the god to be celebrated and mentioning his chief attributes. The Hymns to "Hermes" (xviii), to the "Dioscuri" (xvii), and to "Demeter" (xiii) are mere abstracts of the longer hymns iv, xxxiii, and ii.
The Epigrams of Homer
The "Epigrams of Homer" are derived from the pseudo-Herodotean "Life of Homer", but many of them occur in other documents such as the "Contest of Homer and Hesiod", or are quoted by various ancient authors. These poetic fragments clearly antedate the "Life" itself, which seems to have been so written round them as to supply appropriate occasions for their composition. Epigram iii on Midas of Larissa was otherwise attributed to Cleobulus of Lindus, one of the Seven Sages; the address to Glaucus (xi) is purely Hesiodic; xiii, according to MM. Croiset, is a fragment from a gnomic poem. Epigram xiv is a curious poem attributed on no very obvious grounds to Hesiod by Julius Pollox. In it the poet invokes Athena to protect certain potters and their craft, if they will, according to promise, give him a reward for his song; if they prove false, malignant gnomes are invoked to wreck the kiln and hurt the potters.
The Burlesque Poems
To Homer were popularly ascribed certain burlesque poems in which Aristotle ("Poetics" iv) saw the germ of comedy. Most interesting of these, were it extant, would be the "Margites". The hero of the epic is at once sciolist and simpleton, 'knowing many things, but knowing them all badly'. It is unfortunately impossible to trace the plan of the poem, which presumably detailed the adventures of this unheroic character: the metre used was a curious mixture of hexametric and iambic lines. The date of such a work cannot be high: Croiset thinks it may belong to the period of Archilochus (c. 650 B.C.), but it may well be somewhat later.
Another poem, of which we know even less, is the "Cercopes". These Cercopes ('Monkey-Men') were a pair of malignant dwarfs who went about the world mischief-making. Their punishment by Heracles is represented on one of the earlier metopes from Selinus. It would be idle to speculate as to the date of this work.
Finally there is the "Battle of the Frogs and Mice". Here is told the story of the quarrel which arose between the two tribes, and how they fought, until Zeus sent crabs to break up the battle. It is a parody of the warlike epic, but has little in it that is really comic or of literary merit, except perhaps the list of quaint arms assumed by the warriors. The text of the poem is in a chaotic condition, and there are many interpolations, some of Byzantine date.
Though popularly ascribed to Homer, its real author is said by Suidas to have been Pigres, a Carian, brother of Artemisia, 'wife of Mausonis', who distinguished herself at the battle of Salamis.
Suidas is confusing the two Artemisias, but he may be right in attributing the poem to about 480 B.C.
The Contest of Homer and Hesiod
This curious work dates in its present form from the lifetime or shortly after the death of Hadrian, but seems to be based in part on an earlier version by the sophist Alcidamas (c. 400 B.C.). Plutarch ("Conviv. Sept. Sap.", 40) uses an earlier (or at least a shorter) version than that which we possess 1118. The extant "Contest", however, has clearly combined with the original document much other ill-digested matter on the life and descent of Homer, probably drawing on the same general sources as does the Herodotean "Life of Homer". Its scope is as follows: 1) the descent (as variously reported) and relative dates of Homer and Hesiod; 2) their poetical contest at Chalcis; 3) the death of Hesiod; 4) the wanderings and fortunes of Homer, with brief notices of the circumstances under which his reputed works were composed, down to the time of his death.
The whole tract is, of course, mere romance; its only values are 1) the insight it give into ancient speculations about Homer; 2) a certain amount of definite information about the Cyclic poems; and 3) the epic fragments included in the stichomythia of the "Contest" proper, many of which—did we possess the clue—would have to be referred to poems of the Epic Cycle.
BIBLIOGRAPHY
HESIOD.—The classification and numerations of MSS. here followed is that of Rzach (1913). It is only necessary to add that on the whole the recovery of Hesiodic papyri goes to confirm the authority of the mediaeval MSS. At the same time these fragments have produced much that is interesting and valuable, such as the new lines, "Works and Days" 169 a-d, and the improved readings ib. 278, "Theogony" 91, 93. Our chief gains from papyri are the numerous and excellent fragments of the Catalogues which have been recovered.
"Works and Days":—
S Oxyrhynchus Papyri 1090.
A Vienna, Rainer Papyri L.P. 21–9 (4th cent.).
B Geneva, Naville Papyri Pap. 94 (6th cent.).
C Paris, Bibl. Nat. 2771 (11th cent.).
D Florence, Laur. xxxi 39 (12th cent.).
E Messina, Univ. Lib. Preexistens 11 (12th-13th cent.).
F Rome, Vatican 38 (14th cent.).
G Venice, Marc. ix 6 (14th cent.).
H Florence, Laur. xxxi 37 (14th cent.).
I Florence, Laur. xxxii 16 (13th cent.).
K Florence, Laur. xxxii 2 (14th cent.).
L Milan, Ambros. G 32 sup. (14th cent.).
M Florence, Bibl. Riccardiana 71 (15th cent.).
N Milan, Ambros. J 15 sup. (15th cent.).
O Paris, Bibl. Nat. 2773 (14th cent.).
P Cambridge, Trinity College (Gale MS.), O.9.27 (13th-14th
cent.).
Q Rome, Vatican 1332 (14th cent.).
These MSS. are divided by Rzach into the following families,
issuing from a common original:—
{Omega}a = C
{Omega}b = F,G,H
{Psi}a = D
{Psi}b = I,K,L,M
{Phi}a = E
{Phi}b = N,O,P,Q
"Theogony":—
