The word is related to iós ‘arrow’ and the verb kheîn ‘pour, shed’ although some translations take it as if from khairein ‘rejoice in’, and translate as “delighting in arrows”. The epithet io-khéaira is repeated, verses 2 and 5, so this is clearly an important concept in connection with Artemis in this hymn. And, having started off from you, I will move ahead and shift forward to the rest of the humnos. As for me, I sing you first of all and from you do I start off to sing.
So, with all this said, I say to you now: hail and take pleasure, and along with you may all the other goddesses from my song.
She waters her horses from Meles deep in reeds, and swiftly drives her all-golden chariot through Smyrna to vine-clad Klaros where Apollo, god of the silver bow, sits waiting for the far-shooting goddess pourer-of-arrows. Muse, sing of Artemis, sister of the Far-shooter, the maiden pourer-of-arrows, who was fostered with Apollo. Evelyn-White, incorporating translations and wording from Gregory Nagy, and further adapted by myself. Do they have much in common, or do they concentrate on different aspects of Artemis?Īnd recalling the different and opposing characteristics of Aphrodite and Artemis seen, for example, in Euripides’ Hippolytus, is there evidence of this in these texts? Attributed to The Klügmann Painter: Artemis © The Trustees of the British Museumįirst, here is the text, based on the translation by Hugh G.
Unlike those for Aphrodite, there is not a longer Hymn to Artemis.Īs before, I want to think about what kind of narrative or myth might have accompanied either of these Hymns, if we take them as prooemia, and to see what key words stand out. As a complement to the post on the two shorter Homeric Hymns to Aphrodite, this time I wanted to look at the two short Homeric Hymns to Artemis, #9 and #27.
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