1 Reading Athenaios' Epigraphical Hymn to Apollo

355 Pages·2014·3.55 MB·English

by  Corey Hackworth

Reading Athenaios’ Epigraphical Hymn to Apollo:
Critical Edition and Commentaries

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy
in the Graduate School of The Ohio State University

By
Corey M. Hackworth
Graduate Program in Greek and Latin

The Ohio State University
2015

Dissertation Committee:
Fritz Graf, Advisor
Benjamin Acosta-Hughes
Carolina López-Ruiz

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Copyright by
Corey M. Hackworth
2015

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Abstract

This dissertation is a study of the Epigraphical Hymn to Apollo that was found at
Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed
as part of the Athenian Pythaïdes festival in the year 128/7 BCE.
After a brief introduction to the hymn, I provide a survey and history of the most
important editions of the text. I offer a new critical edition equipped with a detailed
apparatus. This is followed by an extended epigraphical commentary which aims to
describe the history of, and arguments for and and against, readings of the text as well as
proposed supplements and restorations. The guiding principle of this edition is a
conservative one—to indicate where there is uncertainty, and to avoid relying on other,
similar, texts as a resource for textual restoration.
A commentary follows, which traces word usage and history, in an attempt to
explore how an audience might have responded to the various choices of vocabulary
employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize
new words, as well as words that are non-traditional for Apolline narrative. The
commentary considers what role prior word usage (texts) may have played as intertexts,
or sources of poetic resonance in the ears of an audience.
The final chapter proposes a way of reading poetry that emphasizes comparison. I
call it an aesthetics of difference, and I argue that poetic artistry in ancient Greece relied
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heavily on subtle modification of already well-established and well-known poetic forms
and narratives. As a result, I argue that later texts, which have often been derided or
neglected as “derivative” may in fact be some of the best texts for exploring Geek poetic
technique, and may, in fact, constitute significant artistic achievements.

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Dedication

For Megan.

I’ve heard it said that we see further by standing on the shoulders of scholars who have
come before us, but if I have stood, it was by leaning on your shoulders.

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Acknowledgments

I owe thanks to so many people, not only regarding the completion of this project,
but also for the journey that has led to this point.
To my Committee: Fritz Graf, my advisor, who has listened to my wilder ideas
with only a raised eyebrow; he has taught me not only a great deal of what I pretend to
know, but has modeled such inspiring respect for others, while wearing his own learning
so lightly. Benjamin Acosta-Hughes, who taught taught me to appreciate nuance and
detail, and helped me with my Greek. Carolina López-Ruiz, who has been unfailingly
encouraging and excited about my work.
All of the other many faculty at The Ohio State University and Gordon-Conwell
Theological Seminary, who made me the scholar that I am; especially William Batstone,
who taught me to think carefully and critically, and showed me the beauty of Latin.
My year: Drs. Sam Flores, Gabe Fuches, John Richards, and especially Mark
Wright, with whom I have had the most amazingly productive arguments. Kat’s dinner
crew, for good food and fun people. Also, those ahead of us, for their sage advice and
encouragement.
Professors Joseph Farrell, Sheila Murnaghan, Ellen Aitken, Catherine Kroeger,
and Sean McDonough, who encouraged and aided in my becoming a classicist and
entering the PhD program at OSU.
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Finally, thanks are due to my wife Megan, who follows me around the country
while I chase down my dream. Her patience and editing skills are a large part of this
accomplishment.

Ideas in this dissertation were developed in part at several conferences: The
Oxford Symposium on Religious Studies in Oxford, England (12/2013), CAMWS in Iowa
City, Iowa (4/2013), and Historiography of Religion: New approaches to narrating a
religious past in Norköpping, Sweden (10/2012). Thanks are due to the OSU Department
of Classics, the OSU College of Arts and Sciences, and the European Science Foundation
for travel funds.

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,

Vita

May 16, 1979 .................................................Born, Columbus, OH
2000................................................................B.A. Music, University of Alaska
2004 ...............................................................M.A. Theology, Gordon-Conwell
Theological Seminary
2006 ...............................................................M.A. Church History, Gordon-Conwell
Theological Seminary
2004 ...............................................................Post-Baccalaureate in Classics, University
of Pennsylvania
2010................................................................M.A. Classics, The Ohio State University
2007 to 2013 ..................................................Graduate Teaching Associate, Department
of Classics, The Ohio State University
2012, Spring ...................................................Adjunct, Methodist Theological Seminary of
Ohio
2013 to present ..............................................Lecturer, Department of Classics, The Ohio
State University (Columbus, Marion)

Fields of Study

Major Field: Greek and Latin
Interdisciplinary Specialization: Religions of the Ancient Mediterranean
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Table of Contents

Abstract ............................................................................................................................... ii
Dedication .......................................................................................................................... iv
Acknowledgments............................................................................................................... v
Vita .................................................................................................................................... vii
Fields of Study .................................................................................................................. vii
Table of Contents ............................................................................................................. viii
Text and Translation .......................................................................................................... xi
Chapter 1: Introduction ....................................................................................................... 1
The Find .......................................................................................................................... 2
Description ...................................................................................................................... 3
Authorship ....................................................................................................................... 7
Festival ............................................................................................................................ 8
Dating ............................................................................................................................ 10
History of Scholarship and Editions.............................................................................. 12
Chapter 2: Critical Edition ................................................................................................ 25
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Title Line and Strophe 1 ................................................................................................ 25
Strophe 2: ...................................................................................................................... 29
Strophe 3: ...................................................................................................................... 32
Strophe 4: ...................................................................................................................... 37
Fragments from Strophe 4: inv. 494, 499 ..................................................................... 42
Chapter 3: Epigraphical Commentary .............................................................................. 44
Title Line: Columns 1 and 2, Inv. 517, 526 .................................................................. 44
Strophe 1: Lines 1-8, Column 1, Inv. 517 ..................................................................... 49
Strophe 2: Lines 9-16, Column 1, Inv. 517 ................................................................... 70
Strophe 3: Lines 16-27, Columns 1 and 2, Inv. 517, 526.............................................. 84
Strophe 4: Lines 27-34, Column 2, Inv. 526. .............................................................. 123
Fragments: Inv. 494, (fr. 2 in BCH) Inv. 499 (fr. 3 in BCH) ...................................... 139
Extended Supplements: Crusius and Moens ............................................................... 145
Chapter 4: Poetic Resonances ......................................................................................... 149
Strophe 1: .................................................................................................................... 157
Strophe 2 ..................................................................................................................... 219
Strophe 3 ..................................................................................................................... 253
Strophe 4 ..................................................................................................................... 283
Chapter 5: An Aesthetics of Difference .......................................................................... 292
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