This book puts the hymns by the Neoplatonist Proclus in the context of his philosophy and offers a detailed commentary together with a new translation of them.

Les hymnes au dieu Khnoum de la façade ptolémaїque du temple d’Esna. By Abraham I. Fernández Pichel. Studien zur spätägyptischen Religion, vol. 23. Wiesbaden: Harrassowitz Verlag, 2018. Pp. xiv + 217, 21 pls. €94.

Among the departures from the direct tradition in Thucydidesü quotation of the Homeric Hymn to Apollo at 3.104, perhaps the most interesting is line 171. The MSS of the Hymns give ET-iotacism). The majority of Thucydidesü MSS give, but is corrected by a second hand in FJ and by the first hand in H to. Each tradition exists in blissful ignorance of the other. In Aristidesü quotation of lines 169–72, the MSS in general agree with the direct tradition of (...) the Hymns:. But the reading in R is a correction. The original reading, which has been erased, was. Aristides, who as his introductory remark shows is quoting from Thucydides, appears to have read in his text of Thucydides, but this has been replaced at some stage in the tradition by ; the MSS tradition of Aristides has been ’corrected’ from the direct tradition of the Hymns. If Aristides had in his text of Thucydides, the corrected reading of FJH is not the. (shrink)

Martin Heidegger’s 1942 lecture course interprets Friedrich Hölderlin’s hymn "The Ister" within the context of Hölderlin’s poetic and philosophical work, with particular emphasis on Hölderlin’s dialogue with Greek tragedy.

_ Source: _Volume 12, Issue 1, pp 39 - 50 The paper deals with an anonymous _Hymn to God_, which is attributed to Gregory of Nazianzus by some authors, but was most probably composed by a Christian Neoplatonist such as Pseudo-Dionysius the Areopagite. The paper explores the hymn’s relation to Neoplatonic theories of prayer and shows that these affinities are broader in scope than has previously been recognised. Some Pagan and Christian Neoplatonists, including the author of the _Hymn to God_, (...) seem to have shared the idea of a cosmic prayer by which all beings tend towards God, a prayer founded on the knowledge of the ‘signatures’ that God rooted in our souls. (shrink)

The final hymn of the Rigveda, 10.191, the last three stanzas of which are dedicated to saṃjñānam ‘unity’, plays in a remarkable way with the preposition/prefix sam(-) ‘with; together’ and the phonetic sequence mā̆n. Some of the words with mā̆n go back to Proto-Indo-European *men ‘think’ (mánas- ‘mind, intellect, thought’, mántra- ‘utterance, spell’, and mantraye ‘I utter an utterance, recite a spell’); others are forms of the adjective samāná- ‘common, the same’. This brief communication shows that the display of phonetic (...) fireworks has analogs in our earliest hymns in Avestan and Greek, in which both reflexes of *men and etymologically unconnected words that have the same pattern of sounds are frequently found in the most “privileged positions”: the beginning and/or end of a section, poem, or entire poetic collection. (shrink)

Martin Heidegger’s 1934–1935 lectures on Friedrich Hölderlin’s hymns "Germania" and "The Rhine" are considered the most significant among Heidegger’s lectures on Hölderlin. Coming at a crucial time in his career, the text illustrates Heidegger’s turn toward language, art, and poetry while reflecting his despair at his failure to revolutionize the German university and his hope for a more profound revolution through the German language, guided by Hölderlin’s poetry. These lectures are important for understanding Heidegger’s changing relation to politics, his (...) turn toward Nietzsche, his thinking about the German language, and his breakthrough to a new kind of poetic thinking. First published in 1980 as volume 39 of Heidegger’s Complete Works, this graceful and rigorous English-language translation will be widely discussed in continental philosophy and literary theory. (shrink)

La messe sur le monde.--Trois histoires comme Benson.--La puissance spirituelle de la matière.--Pensées, choisies par Fernande Tardivel.

Each of the Orphic Hymns is headed in the manuscripts by the name of the deity to which it is addressed, and in most cases a specification of the kind of incense to be used: thus 2 Only the first hymn lacks a heading. It is preceded in the manuscripts by a poem in which Orpheus addresses Musaeus and teaches him a prayer to a multitude of gods.

Paul's letter to the Philippians, a dense and dynamic piece of rhetoric, is too often overlooked in Pauline interpretation. Careful, critical analysis of the argument in the letter as a whole, as well as its famous hymn, attunes the interpreter to the ethical and political dimensions of this important document.

Recent work on Callimachus has tended to concentrate on the technicalities of his poetry. Commentaries on the Hymns have dealt exhaustively with vocabulary, metrics, Homeric allusion, historical background. What remains to be done is to use these detailed pieces of work in readings of the individual poems, showing how the commentator's minutiae can be assimilated into an overall view of each hymn. In Hellenistische Dichtung Wilamowitz attempted such an appreciation; but since his time literary approaches have changed considerably. With (...) the thorough commentary of G. R. McLennan as foundation, it may be worth while to make a re-assessment of the Hymn to Zeus in less technical terms. In the reading which I offer here I hope to escape the tyranny of the individual word; but I hope, too, that what I have to say will not appear too loosely founded on the text. (shrink)

It is generally accepted that the Homeric Hymn to Apollo was not conceived as a single poem but is a combination of two: a Delian hymn, D, performed at Delos and concerned with the god's birth there, and a Pythian hymn, P, concerned with his arrival and establishment at Delphi. What above all compels us to make a dichotomy is not the change of scene in itself, but the way D ends. The poet returns from the past to the present, (...) and takes leave of his audience; farewell, he says, and remember me ever after. He is quite clearly finishing. Whereupon there is an abrupt and unsatisfactory transition to P. (shrink)

This article offers a translation of the hymn De Crucifixione 4 by Ephrem, the Syrian theologian, which forms part of his cycle of hymns for the celebration of Easter. The symbolic interpretation of particularly the tearing of the temple veil in this hymn – together with the cosmic signs which occurred at the death of Jesus – is investigated. An attempt is made to correlate Ephrem’s fierce anti-Jewish polemics with the intentions of the authors of the Synoptic Gospels and (...) with Ephrem’s circumstances at the probable time of composition of the hymn. (shrink)