HESIOD, THE POEMS AND FRAGMENTS (8THC BC)
Hesiod 060610/14/2005 05:13 PMTHE ONLINE LIBRARY OF LIBERTY Liberty Fund, Inc. OD, THE POEMS AND FRAGMENTS (8THC BC)URL of this E-Book: http://oll.libertyfund.org/EBooks/Hesiod 0606.pdfURL of original HTML file: http://oll.libertyfund.org/Home3/HTML.php?recordID 0606ABOUT THE AUTHORThe early Greek poet Hesiod is credited withthe invention of didactic poetry around 700B.C. His surviving works are the Theogony,relating to the stories of the gods, and theWorks and Days, relating to peasant life.Hesiod’s poetry includes passages critical ofthose aristoi who support themselves on thelabors of others rather than through their ownexertions.ABOUT THE BOOKA collection of Hesiod’s poems and fragments,including Theogony which are stories of thegods, and the Works and Days which dealswith peasant life.THE EDITION USEDThe Poems and Fragments done into EnglishProse with Introduction and Appendices byA.W. Mair M.A. (Oxford: Clarendon Press,1908).COPYRIGHT INFORMATIONThe text of this edition is in the public domain.FAIR USE STATEMENTThis material is put online to further theeducational goals of Liberty Fund, Inc. Unlessotherwise stated in the Copyright Informationsection above, this material may be usedfreely for educational and academic purposes.It may not be used in any way for recordID 0606Page 1 of 163
Hesiod 060610/14/2005 05:13 PMTABLE OF CONTENTSPREFACEINTRODUCTIONI.THE HESIODIC EPOSII.THE LIFE OF HESIODIIIPOEMS ASCRIBED TO HESIODANALYSIS OF THE WORKS AND DAYSANALYSIS OF THE THEOGONYANALYSIS OF THE SHIELDHESIODWORKS AND DAYSTHEOGONYTHE SHIELD OF HERAKLESFRAGMENTSCATALOGUESTHE GREAT EOIAETHE MARRIAGE OF KEYXMELAMPODIATHE ADVICES OF CHIRONTHE GREAT WORKSTHE ASTRONOMYAIGIMIOSFROM UNCERTAIN POEMSADDENDAON W. 113 sqq.THE FARMER’S YEAR IN HESIOD.Works and Days, 383 cordID 0606Page 2 of 163
Hesiod 060610/14/2005 05:13 PMOCTOBERNOVEMBERDECEMBERAGRICULTURAL IMPLEMENTSTH E MO RT A RA N D P E ST L ETH E MA L L E T : σρα, malleusTH E SI C KL ETH E CO U N T RY CA RTT H E PL O U G HTHE CALENDAR OF LUCKY AND UNLUCKY DAYSEndnotesINDEX OF PROPER NAMES OF PERSONS AND PLACESHESIOD, THE POEMS AND FRAGMENTS (8THC BC)PREFACENo apology seems needed for a new English translation of Hesiod. I shall be gladif the present rendering lead to a more general study of an author who, if onlyfor his antiquity, must always possess a particular interest.In some few cases of great doubt and difficulty I have consciously given amerely provisional version. These need not be specified here, and I hope to havean opportunity elsewhere of a full discussion.The Introduction aims at no more than supplying a certain amount ofinformation, within definite limits, about the Hesiodic epos and the traditionalHesiod. A critical introduction was clearly beyond the scope of this book. In theAddenda I have given a preliminary and necessarily slight discussion of a fewselected topics from the Works and Days.The vexed question of the spelling of Greek proper names is particularlytroublesome in Hesiod, since, as Quintilian says, ‘magna pars eius in nominibusest occupata.’ I have preferred some approximation to the Greek spelling ratherthan the Romanized forms, but I have not troubled about a too me3/EBook.php?recordID 0606Page 3 of 163
Hesiod 060610/14/2005 05:13 PMI have had the privilege of consulting my colleague the Astronomer Royal forScotland (Professor Dyson) on some astronomical matters, and several of mybrothers have given me the benefit of their criticism on various points ofscholarship. But neither he nor they have any responsibility for errors into whichI may have fallen.My best thanks are due to the careful scholarship of the staff of the ClarendonPress.TH E UN I V E RSI T Y , ED I N BU RG HOctober 13, 1908.INTRODUCTIONI. THE HESIODIC EPOS1. ‘PO E T RY is earlier than Prose’ is a familiar dictum of historical literary criticism,and the dictum is a true one when rightly understood. It has been a difficultywith some that prose—prosa oratio, or direct speech—the speech which, likeMark Antony, ‘only speaks right on,’ should be later in literature than verse. Butall that is meant is merely this: that before the invention of some form ofwriting, of a mechanical means in some shape or other of recording the spokenword, the only kind of literature that can exist is a memorial literature. And amemorial literature can only be developed with the help of metre.Aristotle finds the origin of poetry in two deepseated human instincts: ‘theinstinct for Imitation and the instinct for Harmony and Rhythm, metres beingclearly sections of rhythm. Persons, therefore, starting with this natural giftdeveloped by degrees their special aptitudes, till their rude improvisations gavebirth to Poetry’ (Poet. iv). What Aristotle says of Tragedy (Poet., l. c.) is true ofpoetry in general, that ‘it advanced by slow degrees; each new element thatshowed itself was in turn developed’, and everywhere ‘Nature herself discoveredthe appropriate measure’.Poetry, then, for primitive man, was the only vehicle of literature, the onlymeans by which the greatest experiences, the deepest feelings and aspirationsof humanity could find an enduring record. ‘In one way only,’ says Pindar, Nem.vii. 14 sq., ‘know we a mirror for glorious deeds—if by grace of bright-crownedMnemosyne a recompense of toils is found in glorious folds of verse.’ What inPindar is a claim and a vaunt is for the primitive man literally true. Not fornothing was Mnemosyne or Memory the mother of the Muses: and not fornothing was Number, ‘by which all things are defined,’ the handmaiden ofMemory. Number and Memory are significantly coupled by Aeschylus in rdID 0606Page 4 of 163
Hesiod 060610/14/2005 05:13 PMMemory. Number and Memory are significantly coupled by Aeschylus in thePrometheus Vinctus, 459 sqq., where Prometheus, among other benefits heconferred on men, boasts, ‘I found for them Number, most excellent of arts, andthe putting together of letters, and Memory (Mneme), the muse-mother, artificerof all things.’Poetry, accordingly, in the earliest times counted nothing common or unclean,but embraced the whole range of experience. Yet the poet was from the firstregarded with a peculiar reverence. He stood apart from his fellow men, in acloser relation to the gods from whom he derived his inspiration. Generally hewas not merely the singer of things past—‘of old unhappy far off thingsAnd battles long ago’—but also he was the prophet of things to come, and the wise man in whom wasenshrined the wisdom of the ages, the highest adviser in things present,whether material or spiritual. With the development of a prose literature whichwas adequate to record the more ordinary things of life, the poet more andmore confined himself to the higher levels of experience, or he dealt withcommon things in an uncommon way. Hence, as it were by an accident, therewas developed the quality which, however hard to define, we each of us thinkourselves able to recognize as poetic. But it still remains true that the onedistinctive essential of poetry as compared with prose is that it is marked by‘metres, which are sections (τμήματα) of rhythm’.2. Before the invention of writing, then, there existed a vast body of popularpoetry, handed down memorially. For the most part doubtless it consisted ofcomparatively short poems. But, even without the aid of writing, memory ofitself was adequate to the composition and tradition of poems of considerablelength. The old argument against the antiquity of the Homeric poems which wasfounded on the alleged impossibility of composing or preserving poems of suchlength by means of memory alone, has long since, on other grounds, becomeobsolete. It is difficult to understand how it could ever have been seriouslyadvanced. So far as mere length goes I should not think that a good Greekscholar would find much difficulty in composing a poem as long as the Iliad, andcertainly in committing it to memory he should find none. But in any case poetryin earlier days occupied a much more intimate part in the popular life than itdoes now or is ever likely to do again. In camp and in bower, in the labour ofthe field, in the shepherd’s hut on the hill, in the farmer’s hall on the long winterevenings at the season when ‘the Boneless One gnaweth his own foot within hisfireless home and cheerless dwelling’, poetry and song formed the delight andsolace of life, enshrining as they alone did the traditions and the wisdom of therace. Pennicuick’s picture of a farmer’s hall in old Scotland would apply, mutatismutandis, to a farmer’s hall in ancient recordID 0606Page 5 of 163
Hesiod 060610/14/2005 05:13 PMmutandis, to a farmer’s hall in ancient Greece:‘On a winter’s night my granny spinnin’To mak a web of guid Scots linen;Her stool being placed next to the chimley(For she was auld and saw right dimly):My lucky dad, an honest Whig,Was telling tales of Bothwell-brig;He could not miss to mind the attempt,For he was sitting puing hemp;My aunt whom nane dare say has no grace,Was reading in the Pilgrim’s Progress;The meikle tasker, Davie Dallas,Was telling blads of William Wallace;My mither bade her second son sayWhat he’d by heart of Davie Lindsay:. . . . . . . . .The bairns and oyes were all within doors;The youngest of us chewing cinders,And all the auld anes telling wonders.’3. All the great types of later poetry are found in germ or prototype in the earlypopular poetry. One by one they are taken up, so to speak, and carried to theirfull perfection on the stage of literature. Nowhere is this process of developmentmore simple or natural than in the literature of ancient Greece which, littleinfluenced by external models, runs parallel at every stage and corresponds tothe course of the national life. The rustic song and dance in honour of Dionysusgives birth to the magnificent creations of Aeschylus and Sophocles: the rusticharvest-home with its rude and boisterous mirth, when‘The harvest swains and wenches boundFor joy, to see the hockcart crowned.About the cart hear how the routOf rural youngling raise the shout,Pressing before, some coming after,Those with a shout, and these with laughter.Some bless the cart, some kiss the sheaves,Some prank them up with oaken leaves;Some cross the fill-horse, some with greatDevotion stroke the home-borne wheat,While other rustics, less attentTo prayers than to merriment,Run after with their breaches recordID 0606Page 6 of 163
Hesiod 060610/14/2005 05:13 PMis the progenitor of the Aristophanic comedy. And so with other forms ofliterature.Here we are concerned with Epic poetry only. First we have the unprofessionalsinger who sang unbidden and unbought: when ‘the Muse was not yet lover ofgain nor hireling, and honey-tongued Terpsichore sold not her sweet and tendervoiced songs with silvered faces’ (Pindar, Isthm. ii. 6 sqq.). Next we have theprofessional minstrel, a wanderer from house to house, singing for his livelihoodand a night’s shelter, or, at the top of his profession, the honoured and mosttrusted retainer of a royal household. The nearest analogy to the position of thelatter type of minstrel would be perhaps the modern clergyman: only the earlyminstrel added to the privileges of the clergyman something of theresponsibilities of the family lawyer. There are few more pleasing passages inHomer than those which introduce the honoured minstrel, such as Phemios in thepalace of Odysseus and Demodokos in the palace of Alkinoos; of the latter, inOdyssey, viii. 62 sqq., we read how ‘the herald drew nigh, leading the trustyminstrel, whom the Muse loved with an exceeding love and gave him good andevil. She robbed him of his eyes, but she gave him sweet song. For himPontonoos set a silver-studded chair in the midst of the banqueters, leaning itagainst a tall pillar. And from a peg he hung the shrill lyre just above his headand guided his hands to grasp it. And by him he set a basket and a table fair,and by him a cup of wine that he might drink when his spirit bade him. And theyput forth their hands to the good cheer set ready before them. But when theyhad put from them desire of meat and drink, then the Muse stirred up theminstrel to sing the glories of men (κλέανδρ ν), even that lay whose glorywas then come unto the wide heaven, of the strife of Odysseus and Achilles, sonof Peleus.’ And just as our Scottish farmer ‘was telling blads of William Wallace’,so in Homer, Iliad, ix. 186 sqq., when a deputation of chiefs came fromAgamemnon to persuade Achilles to renounce his wrath, ‘they found him takinghis delight in the shrill fair-carven lyre whereon was a bridge of gold: the lyrewhich he had taken from the spoils, when he sacked the city of Eetion. Thereinhe was taking his delight and was singing the glories of men (κλέανδρ ν),while over against him, alone and in silence, sat Patroklos waiting till the son ofAiakos should end his lay.’The direct descendant of this type of minstrelsy is the Homeric epic.4. The first aim of the Homeric poet is to give pleasure: he is a teacher, but heis so indirectly. It is his privilege, nay, it is a condition of his art, to beimaginative, to prefer, in Aristotle’s phrase, ‘probable impossibilities toimprobable possibilities,’ and the triumph of Homer is that he ‘chiefly has taughtother poets to tell lies as they ought to be told’.Now the Hesiodic epic is the antithesis of the Homeric. It is a didactic poetry,whose aim is not to please but to instruct. No less than the Homeric poet ecordID 0606Page 7 of 163
Hesiod 060610/14/2005 05:13 PMwhose aim is not to please but to instruct. No less than the Homeric poet Hesiodclaims divine inspiration, and he recognizes that the Muses are equally operativein both types of poetry. ‘We know,’ he makes the Muses say in Theogony, 27sq., where he receives his call to poetry, ‘we know to speak full many thingsthat wear the guise of truth ( τύμοισινμο α): we know also when we will toutter truth.’ In other words, the aim of the Homeric epos is to please by theinvention of artistic probabilities: the aim of the Hesiodic epos is to instruct menin the truth.Leaving on one side the shield, which, whatever we may think about itsauthorship and date, belongs rather to the Homeric type of epos, and moreparticularly to the special type of Iliad xviii, and confining our attention to theWorks and Days and the Theogony, we find perhaps the best and mostilluminating parallel to the Hesiodic epos in the Wisdom ( )ָהסָבְח of the Hebrewsas represented by Job, Proverbs, and Koheleth among the canonical books of theOld Testament, and by the Wisdom of Solomon and the Wisdom of Jesus, theson of Sirach, among the Apocrypha. A full discussion of the points ofcomparison cannot be attempted here; but one or two things may be noticed.First, both the Hebrew Wisdom and the Greek as represented by Hesiod areessentially practical. Both the one and the other have less metaphysical bentthan the seventh-century sages of Greece. Thus, just as Hesiod includes withinhis scope not merely religious and ethical precepts, but also precepts of law andorder, and precepts of husbandry and even of seafaring, so while Hebrewwisdom is mainly occupied with ethical observations, it does not despise thecounsels of practical affairs: ‘I Wisdom dwell with prudence, and find outknowledge of witty inventions. . . . Counsel is mine, and sound wisdom: I amunderstanding: I have strength. By me kings reign, and princes decree justice.By me princes rule, and nobles, even all the judges of the earth’ (Proverbs viii.12 sqq.); ‘Give ye ear, and hear my voice; hearken, and hear my speech. Doththe plowman plow all day to sow? doth he open and break the clods of hisground? When he hath made plain the face thereof, doth he not cast abroad thefitches, and scatter the cummin, and cast in the principal wheat and theappointed barley and the rie in their place? For his God doth instruct him todiscretion, and doth teach him. For the fitches are not threshed with a threshinginstrument, neither is a cart-wheel turned about upon the cummin; but thefitches are beaten out with a staff, and the cummin with a rod. Bread corn isbruised; because he will not ever be threshing it, nor break it with the wheel ofhis cart, nor bruise it with his horsemen. This also cometh forth from the Lord ofHosts, which is wonderful in counsel and excellent in working’ (Isaiah xxviii. 23sqq.). So Hesiod (W. 660 sqq.) has no experience of ships, ‘yet will I declare themind of Zeus, for the Muses have taught me to sing the wondrous hymn.’Again, both the Hebrew Wisdom and the Greek offer their reward in this ecordID 0606Page 8 of 163
Hesiod 060610/14/2005 05:13 PMHesiod, W. 225-47, contrasts the prosperity which attends the just man—peace,plenty, fruitful wife—with the afflictions of the unjust man—famine and plagueand barren wife. So Proverbs viii. 18 sqq., ‘Riches and honour are with me; yea,durable riches and righteousness. . . . I lead in the way of righteousness, in themidst of the paths of judgment: that I may cause those that love me to inheritsubstance, and I will fill their treasures’: Proverbs ii. 21 sq., ‘the upright shalldwell in the land, and the perfect shall remain in it: but the wicked shall be cutoff from the earth, and the transgressors shall be rooted out of it.’ Hesiod tellshow with the successive races of men old age followed faster and ever fasterupon youth, until one day men shall be grey-haired at their birth. So Proverbs iii.16 sqq., ‘Length of days is in her right hand; and in her left hand riches andhonour. Her ways are ways of pleasantness, and all her paths are peace. She isa tree of life to them that lay hold upon her; and happy is every one thatretaineth her.’But most notable of all is that striking feature of the Wisdom literature which, forwant of a better word, we may in general describe as parabolic. In the Book ofProverbs i. 6, we read: ‘to understand a proverb ( )םָׁשָל and a riddle ( ;)םְלִיצָה thewords of the wise ( )חֲבָםִים ִדבְֵדי and their dark sayings’ ( )חִיֹדח , and similarly inHabakkuk ii. 6 ( )םָׁשָל וםְלִיצָה חִידֹוח . The several terms here given seem to shadeinto one another in meaning, and cover the whole range of parable, proverb,byword, parallelistic poem, fable, allegory. The distinctions attempted to bedrawn between these seem to me rather thin, and in any case are more of formthan of essence, and need not concern us here. In Greek we have a similarvariety of expressions, α νος, α νιγμα, παραβολή, παροιμία (Ecclesiasticus xxxix.1 sq. σο ίαν πάντωνδιήγησιννδρ ητήσει κανομαστ ν συντηρήσει καπόκρυ α παροιμι νναστρα ήσεται), γρν προ ητείαιςσχοληθήσεται·ν στρο α ς παραβολ νκζητήσει καν α νίγμασι παραβολ νος, κέρτομα, and I venture to add σκόλιον, which wasproperly in its origin a ‘crooked’ or cryptic ‘sentiment’, like the Hebrew m’lîça.Very close in meaning also is ε κών, imago and similitudo. The use of the fable,parable, &c., in the Bible need not be illustrated here. In Hesiod we find thesame characteristic. Thus we have the fable (α νος) of the hawk and thenightingale in W. 202 sqq., the proverb in W. 345 sqq. and passim, crypticexpressions like ε ειτερ δαλο , W. 705, &c.The most curious form of this phenomenon in Hesiod is the use of the allusive ordescriptive expression in place of the κύριοννομα or ‘proper’ word. Thus wehave ‘Athene’s servant’ carpenter; ‘the three-footed man’ old man with hisstaff (cf. the ‘three-footed ways’ of the old in Aesch. Agam.); ‘th
A collection of Hesiod’s poems and fragments, including Theogony which are stories of the gods, and the Works and Days which deals with peasant life. THE EDITION USED The Poems and Fragments done into English Prose with Introduction and Appendices by A.W. Mair M.A. (Oxford: Clarendon Press, 1908). COPYRIGHT INFORMATION
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