The Hymns Of Hermes

These writings are attributed to Hermes Trismegistus, an ancient Egyptian sage, the founder of all arts and sciences, both mundane and spiritual. Rather than being an actual person, Hermes is the Egyptian personification of the "Gnostic Revealer." Hymns of Hermes examines Hermetic ecstatic hymns, which are songs of a poetic nature used to describe the Gnosis of Hermetic attainment--the ecstatic personal experience of the divine.

Clement of Alexandria tells us that the whole of the religious philosophy-that is, the wisdom, discipline and multifarious arts and sciences-of the Egyptian priesthood was contained in the Books of Hermes, that is of Thoth. These Books, he informs us further, were classified under forty-two heads and divided into a number of groups according to the various septs or divisions of the priests.It is of the Hymns of this Thrice-greatest Hermes that I shall treat in the present small volume hymns that were inspired by the still-living tradition of what was best in the wisdom of ancient Egypt, as 'philosophized' through minds trained in Greek thought, and set forth in the fair speech of golden-tongued Hellas.

This book is specifically designed for upper-level students of these major narrative works of early Greek poetry.

This Is A New Release Of The Original 1898 Edition.

The Hymn to Hermes, while surely the most amusing of the so-called Homeric Hymns, also presents an array of challenging problems. In just 580 lines, the newborn god invents the lyre and sings a hymn to himself, travels from Cyllene to Pieria to steal Apollo’s cattle, organizes a feast at the river Alpheios where he serves the meat of two of the stolen animals, cunningly defends his innocence, and is finally reconciled to Apollo, to whom he gives the lyre in exchange for the cattle. This book provides the first detailed commentary devoted specifically to this unusual poem since Radermacher’s 1931 edition. The commentary pays special attention to linguistic, philological, and interpretive matters. It is preceded by a detailed introduction that addresses the Hymn’s ideas on poetry and music, the poem’s humour, the Hymn’s relation to other archaic hexameter literature both in thematic and technical aspects, the poem’s reception in later literature, its structure, the issue of its date and place of composition, and the question of its transmission. The critical text, based on F. Càssola’s edition, is equipped with an apparatus of formulaic parallels in archaic hexameter poetry as well as possible verbal echoes in later literature.