§TIILLIAM D. FURLEY

HYMNS TO AND RELATED ABSTRACT ENTITIES

Estratto da «PAIDEIA" LXV (roro)

Stilgrrrl l:tliu'icc ( lcscnrr HYMNS TO TYCHE AND RELATED ABSTRACT ENTITIES

Abstract

As Greek religion and personal philoso?by deoeloped in tbe Hellenistic Pe- riod and after abstract entities swch as Fate, Cbance, Virtwe or Health carne to receive cwlt worship in d. manner similar to that of the Olympian - tlteon itself. We possess a small nwmber of hymnic texts which illwstrate this deoelopment, in particwlar a 'Hymn to Tycba' preserved on a tbird-centu- ry pa,pyrus in Berlin. Tbis chapter seeks to place tbe Hymn to Tycha in con- text witbin the general pbenomenon of worship of abstract entities and to reoisit the text itself with suggestions for new readings at points wbere tbe text is dfficwlt. Tbis sbort bymn, tahen together with similar hymnic texts, reoeals d.n aupareness in later antiquity of tbe degree to wbich bwman life and bappiness is dependent on blind forces operating apparently at random. The concept of 'blind chance' whicb can raise tbe bwmble and destroy tbe mighty is quite distinct from '' (moira or ) or Roman 'fatum' according to wbicb the cowrse of eaents is preordained.

r. Introduction

\Xrith the emergence of active cults to abstract entities such as Ty- che, , , , in the fourth century BC one might expect that some hymns and to these new might have survived in some form'. To a limited extent, this is the case. This chapter will focus in particular on the Hymn to Tyche preserved on a papyrus in Berlin (P. Berlin 9734) along with other hymnic invoca- tions to Tyche and related forces. Perhaps it was the influence of philosophical schools and modes of thought which led to the deifica- tion of abstract entities. The habit of philosophical thought as well as the overt criticisms of certain philosophers led undoubtedly to a

" Thanks go to Andrew Faulkner for helpful suggestions on this piece. r Cf. S'rnr-noRD 2oo7, esp.pp.8r-83, following her monograph StenroRD 2ooo; see also S'r'Al,r,oRrr & HrRntu zooy. r 63 t6z l'rritlci.r l,XV (roro) V. t). Iruttl,t',Y, llyntrtt lrt'lytltt rtttd rdttltd abstra<:t artlilits

questioning of traditional Olympic deities. In their places philoso- lenistic age. lt is thought that the decline of the city-statcs to lrc rc- phers tended to place abstract entities reflecting their own doctrines placed by the empires carved out by Alexander's successors, accotrl- or representing a more 'scientific' view of cosmic forces. §7e see the panied by many wars and a new mobility of armed forces and merce- process already in action as early as Aristophanes' lampoon of the iraries, might have led to a 'scrambling' of people's traditional alle- gods worshipped in Sokrates' 'think-tank' (the pbrontisterion) in giances to city-state and city gods. It is suggested that the increased Clouds. Here worship of airy-{aLry entities like 'Clouds' or 'Atmos- (p.rceired) instability of the Hellenistic world might hry: led to an pheric Swirl' (dinos) takes over from that of familiar old , Apol- àhanced awareness of the role of chance in hum an affats: if the lo and their like. It is not that religious belief itself is jettisoned by Olympians no longer looked after the city and its citizens, then per- these 'atheists' (as they were known)'; rather, they introduced new- haps mere abstractintities such as Chance, Fate, Destiny might be the fangled deities clearly at variance with traditional gods. Another as- single governing factor in lifez. I personally am somewhat sceptical of pect of the process can be seen at work in the sophistic Derveni Au- this expl model. The Greek city states had made war on each ^n^tory thor, datable probably to the fifth century3. The anonymous author of orher with depressing frequency before Alexander conquered the oik- the exegesis of an Orphic cosmogony likes to 'explain' the named oufttene. People might easily be sold into slavery in the fifth century gods of the Orphic text allegorically, that is, by saying that this-or- who had been dignitaries (or at least free) in their cities before it fell that god is 'really' air, or fire or whatever. At the same there was ro an enemy. And which age has ever considered itself stable and se- a tendency among progressive historians (such as Thucydides) to omit cure? Even the last fifty years of \ilestern European history, which all traces of theodicy from their historical narratives and to emphasize have been characterized by amazing peacefulness and stability, may the role of chance or contingency. True, this force of happenstance not have been perceived as such by individuals or politicians. sometimes seems to take on a life of its own so that the reader is left I would g.r.ìr that humans tend to cling to traditional beliefs when to wonder whether the historian is not pointing to some higher in- their lives and livelihoods are seriously at risk. A readiness to embrace stance of justice or divine causality at work behind the scenes, but the new beliefs and endorse intellectual experiments might conversely re- fact remains that Thucydides has jettisoned the Olympians from his flect greater perceived security and prosperity. Surely that, in a way narrative+. Beside 'blind chance' there emerges a concept of 'divine *r, iir. .rt. in Hellenistic Greece. The Macedonian conquest of chance', that is, a force of unpredictable causality which nevertheless Greece put an end to earlier territorial and hegemonic wars between reflects, at some level, a kind of divine intelligence or providencel. individual city-states. Greece was, in a way, more united than it ever The equation of chance with a divine causality guiding human actions had been. Mobility of mercantile and intellectual goods increased comes out nicely in a passage of Andokrdes (On tbe Mysteries tr3-r 14) throughour rhe Mediterranean. Traditional enemies such as the Per- in which the orator argues that an inadvertent action by himself can sians Èad been banished to the far eastern horizons. It is this new mo- only reflect divine providence working in his favour6. bility and freedom to wander from home and country which might The second factor which is commonly adduced for the rise in im- perhaps be seen to have increased people's awareness of chance or fate portance of cults of Chanc e (et al.) is the alleged 'turmoil' of the Hel-

(sc. Hellenistic),ìn 7 SretrnNr GaspRRno g97, p.9o) writes: "The turbulence of that lgj z Cf. \VwIaRCzyK r99o and \flINnRczyK 1992. politics, society, .rltrrr.-#d iefgion, certainly encouraged the rise of belief in the idea of a the same time capable of inter- 3 Of many works on this exciting text cf. Lers & Mosr ry97,Brrocr 2oo4; an authorita- àirir. power #ith r*ry ouer thà universe as a whole, yet at tive text has finally appeared in KounruENos e, al. zoo6. A good text is also provided by uelingìn the daily life of the individual,. Then, on Tyche (9r): ..she thus appears in the con- BrnNenÉ zoo7. ,.r, o? Hellenistié re[gion as a personal, "daimonic" power, actively intervening in the lives of individuals and ,rrtLrrr, ofteir unforeseeably, no* for good, now for ill. But at thc sarnc 4 For this tragic serise in Thucydides see CoRNEono (reprint ry6y of. ryo7 original). time, thanks to this progressive individualisation, she becime, as it were, the prisoner «rf thc y For this concept of Oe[a poigo or 0eio, in the and fourth centuries see BERRy tupl fifth men and the communiiies who offered her private or public cult. For thereby thcy cstab- r94o; YuNts 1988, p. 168 on Eur. Her. r3y ttyry" "HQaE. Hnnrrn 1976. lished a bond, a relation of reciprocity, bet*eìn themselves and the sovcreign Mistrcss of thc r Cf. Funlnt ry96, pp. rr 5-rfi. Univcrsc; and were no longer ihc haplcss victims of fumbling chancc". t64 paideia l.XV (uoro) V. [), Irunt.t,,\, Ilynrts tu'l:yltt ,utl rtlatctl altstrat'l tnltlir:s 16 t

as a defining factor in life. The god who speaks the prologue in cluster round the central concept of chancc/fatc both in collcctivc irrrcl Menander's Shield is Tyche, Chance. She explains how the mercenary individual existences. The concepts are linkcd with timc, irr that tinrc i.s Kleostratos picked up the wrong shield by chance when campaigning seen to be relevant to what happet s when and where: occurrcnccs arc in Minor. He was thought dead because the man who had picked the result of a'conspiracy'- whether fortunate or unfortunatc * of cir- up Kleostratos' shield had been found lying under it, dead. Similarly, cumstances which seem to include body, space and time. Maddcningly, the lady who speaks the prologue of Menander's Rape of tbe Lochs is these events occur unpredictably: causality is either absent, or imper- Agnoia (Unawareness). She explains how the merc enary Polemon ceptible to humans. Although the Delphic (and other) (s) hardly does not know that the man he saw kissing his girl - whom he then lose custom until the end of antiquitlz, there is never a link posited bc- shore in rage - was in fact her brother8. Here we have what became tween mantike and tycbe. Tyche is, by definition, that which cannot the. typical Hellenistic -ingredients: mercenaries fighting abroad; chan- be predicted. Since tyche eludes manteia one might think that any ce ignorances and confusions leading to dramatic turns of eventse. form of worship would be pointless'I. After all, cult is designed to There are a number of Greek words associated with, or related to, please and gain religious credit. However, cults of Tyche sPrang d:Xvl, chance itself. Moiga, Fate, is already present as a force to be up in Greece in the fourth century; she acquired an iconography and reckoned with in Homer'o. She can also appear as a collective plural p"bti. cult, mainly in the form of Agathe Tyche, or 'saving Grace"6. Moigau, comprising the trinity of 'Fates': Klotho, and Atro- Tyche has a place already in early theogonic , albeit minor and pos. Aìot\,'fate', appears too, though with less personality than Moira. without narrative elaboration. (Tb. 36o) and the author of Aolpow is used to denote an anonymous divine force which, typically, HHDemeter (4zo) name her as an Oceanid; Alkman calls her sister of looks after individual lives". Beside rt:X\ there is tò cxùr6potov, used and Peitho, daughter of Promathera'7. An anonymous piece to denote something which happens without identifiable reason: of dactylo-epitrite verse which some have ascribed to Simonides retains chance or random occurrence. In cult the beneficial side of òoipolv the epic picture of individuated capable of granting people's and t6Xq are, understandably, invoked by means of the appellative prayerslB. Tyche as 'Chance' begins to be personified and apostro- &ycr06g/oyo0{". Conversely the figure of v6peorg, Downfall, appears, phized as early as Archilochos who pairs Tyche with Moira as the de- sometimes in combination with , representing ill luck or retri- cisive factors in life: 'Perikles, Chance and Fate decide all for man"e. bution'3. The concept of the 'lucky moment' finds expression in This marks a departure from epic, in which Moira decides men's fate, in ratg6g, whilst time as a living entity is personified and, by Roman that Tyche now acts alongside her. recognizes Tyche as a force , worshipped as '+. One sees that these terms form a word sometimes more powerful than might'o, as 'city-holding"', and as an 'unbiddable' 'wielding the twin steering-oar"'. Kairos, the dc-

s For tÉ1r1 in Menander cf. fr. 372 KA from Hypobolimaios; Vocr-Sprne ry92. For r,ctùr,6- porov see Epitrepontes rroS with my note (FuRLrt zoog). ry Cf. Soph. Ant. tI6o (below). 9 Cf. SnenrNI GespRnRo ry97, p. 86: nDuring the , in keeping with the new psychological climate created by the changes in socio-economic, politico-military and 16 See Sterrono zoo7, pp.8z-83, SrarulNr GRspanno ry97, pp. 78ff . cultural affairs, the cult of Tuchè flourished exuberantly - became indeed one of the deter- 17 PMGF fr. 64 Davies. mining features of the religious life the Greeks". of fi PMG rorSb (Stobaios t.76ff.). Meineke suggested tsakchylides or Simonides as autlror; ro Famously in Il. fi.q3-38, she stays even Zeus' hand when he debates saving Sarpedon's Page rejects Simonidean authorship because of the jarring epithct §oò6ro)'rog. Now thrt life. $qòò6noXug has turned up in the new Sappho (line 9) one wondcrs whcthcr the argunrcrtt has forcc. rr SFAurNt GespanRo 1997, pp. 7o-82. r9 16 T{rXq r

cisive moment, receives attention in the fifth century. Ion of Chios is Chancc, bcginnirlg iutcl crrd for men, you who sit on tWisdom's thronc said by Pausanias to have composed a hymn to Kairos; only one detail and appoition honour to mortal works. is given: Kairos is said to have been the youngest son of Zeus'3. In Eu- The good outweighs the bad through you, ripides, too, we can find passages highlighting the ineluctable forces of and èrace radiatei from your golden wing. chance and necessity. ln Alkestei the chorus sing an ode to , Ne- What is granted by your-scales is most blessed; cessity, after Death has taken Alkestis - only to be proved wrong by you see a way thràugh helplessness in troubles you beai a shining torèh in darkness, grearest goddess. Herakles' recovery of Alkestis from the maw of death'a. ,rrd In these passages Tyche has the status of a'' who This piece takes a positive view of 'Iyche:. she is associated with can be apostrophized on occasion - like other abstract entities such as wisdom,^which seems io dissociate her from 'blind' chance, which can , Hosia (Holiness), Eirene or 'I. In the fourth century, hardly be said to show wise counsel. Her action conveys 'honour' on however, as we have said, Tyche advanced to become a fully-fledged -err'i endeavours; more good than bad stems from her; her wings are goddess with official cult and worship. Unfortunarcly no cult hymns 'golden', radiating grace. Onlf the image of.her 'scales' points.to am- to Agathe Tychè survive either on stone or in the literary tradition. b"ivalent'action: ,i t the traditional Homeric image, fate's scales may The final two lines return However, three hymns to Tyche as a fickle decider of men's fate have swing either.way: ro death o.. lo salvation. survived, one in Stobaios'6, another on a third-century papyrus and to an optlmlstli app.aisal of this 'greatest.goddess'. As we will see, which emphasizes chance's am- the third among the 'Orphic Hymns' (no. 7z). Let us consider the this piece differs fio* the Berlin text, first and third mentioned pieces by way of introduction to our main bivalent power to raise the humble and humiliate the great. indis- theme, the Berlin Hymn to Tyche. 'Ihe )znd Orphic Hymn to Tyche addresses her in a manner is- into as* Tycha PMG rorg (Stob. r.6t3): tinguishable from other gods in the collection'7. She broughl ,o.lrtion with Artemis àd said to be the daughter of Eubouleus. The T61cr peg6norv dqXò piece does however characterize her as 'many-sided' (6 noklxl,cryrtov) rcrì tégpo,, tù rcrì Xoq[og OareiE Éòqag rrcprro(Kr,l.og), attributes which chime with epi- roì tupòv èru60r1rcrg égyor,E' àrrd 'a11-uariegated' (ro Bgor6or,g Orphic Hymn also roì tò ral.òv nl.6ov fi ro,ròv èr o60ev, thets of TycÉe found in the Berlin hymn. The men ff, te Xdpug }"d,pruer, negì oùv nt6guyo, 1guo6o,v' points to tlre essential ambivalence of Tyche, in that she may grant roì tò teQ nl"d,otuyyu òoOÈv pcr,KcQr,or6tcrtov tel"éOeu. iealth, or, when her anger is stirred, poverty (lines 8-g)' Tù ò' d,pcxlovicxg n6gov efòeg Év d,l,yeor,v, rted,vtov r}"fl0oE noÀ'6o}'pov, rcrì l.crprnpòv cpdog ffycryeg èv or6trp, nQocpsQsor,&r,a 0e6lv. o[g pèv yòg r,e{sye,;, oti Oi rorfiv ruev(4v 0up6r, 16l.ov ògpcxivouoa' z 0creiE Éògog Jacobs: drog ògdug F, lacun. decem litt. P 8 or6tcrlr,: orc6tei corr. Page numerorum causa This two-edged quality of the goddess's Power is the basis of thc anonymous Berlin author28.

(Laurence Villard);with twin oar ibid. no. Jra. The 'twin' rudder may simply reflect the fact that steering oars of ancient ships were paired, one on the port, the other on the starboard side; or perhaps the symbolism of bad and good luck is implicated. Tyche may steer things in a lucky, or disastrous, direction. '§flrrstrR z3 ry36 compares Ion's interest in kairos with instances in Sophokles. In the Hel- lenistic age note the interesting epigram by Poseidippos on Kairos: A.P. 16.275. z4Lines 962-roo5. Noteinthesame play889 thechorus'desperatewaildrya t61a òuo- ndl"or.crrog i{rer,'ineluctible fate approaches'. ,7 The collection of Orphic Hymns is thought to date to the second century AI), scc and MoRAND zoot. z1 d,get{: Aristotle's hymn to Areta PMG 842 = FuRLEY 6r Bnuunn 2oor) no. 7.4;6oia:Ettr. QueNor ry62 hymns, to : èv ooì yng À"rilqg Ba. 37o-378; eigrlv4: Bakchylides Pa. 4.6t-9r, Aristophanes Peace 9Z+-g86; {irvoE: Soph. z8 And of the next hymn in the collection of Orphic study (r997) shows the closc Phil.8z8-\2. te 1agd,E t rirniòei ò1oOwor (line 6). Sra,vmNr GRipeRRo's rhese two entities in Hcllenistic religiosity. z6 Stob. t.6.13 = PMG ru9. Lyrici incerti (fr. adesp. Il93 B.). .nnn.Jtion between r68 Paideia LXV (zoro) V. t). lrunt,t,,\, llynms to'lyrltr ttttrl rrltttttl ttbslrutl arttitits l6t1

z. Tbe Berlin Hymn to Tycba xtoE XQyì rto,v ttoxt,v re òr,§

I tinrlqLpcxg, from ùnege[not, as §flilam owitz suspected, although At thc crrd ttf thc lirrc tlrcrc arc irrk traccs aftcr rr;r,nr,0rr(rUriv(r. he 'l'ltcy printed ùmr1glrcoE, as if from Ège[rctrl. The doubtful letter after t arc sufficicnt to rulc «rut edd. pr.'oK(lmov, ancl thc first thrcc .l'hc Tight be r, or n with damaged right descende r, or, as I prefer to lcttcrs ert least can plausibly be rcad as v-u-X. su1-rplcrncrrt vfrlr,ov think, tp: givcs the sense 'a cloud dark as night', which suits thc obscurity into which Tyche can plunge the renowned3s. 6 qcr0)"o or noOgcr? The papyrus has ncrul"cr, permitting cithcr corrcction. ncrOgo however usually means 'few in numbcr' rathcr [h:rn 'small', 'slight', which is the required sense here. Instances of thc lrrttcr sense do, however, occur in eady poets so ncr0go rcmains a (lcss likcly) option here. Although qa0l.og can carry a negarive connora- tion ('low' because bad, mean) it also regularly has the ethically ncu- 'slight', The verb ùaege[ro, favoured by previous editors, is bapax and the tr:rl sense 'trivial' (LSr. The triple alliteration of n which fol- second aorist of ège[ro, ijgr,rov, generally is intransiti ri, ,t"^r,;6. A Iows might also be thought to favour cpa0)"a (so as not to ovcrdo third objection to rlnrlgr.rccrg is th.lrro*rltrs (athematic) ending, but tlrirrgs). On balance edd. pr.'s cpcr0).cr is preferable. this phenomenon is common enough, particulìrly in laté, rexrs. rjrre- nteqoiot. The first four letters are relatively clearly n-r-e-}. and thc gelno, on the other hand, occurs, with an intransitive second aorist, «r is also discernible, making edd. pr.' xrreQo[T]o[r. very likely: e:g. !l: 4.69r: ùnr1gr.ne qa[òrpa yuicx, 'his trusty limbs collapsed un- der him'. §ililamowitz believed the scrib. of ori hymn intenàed (but did not write) riru(gertpag, adducing Hesych. nqr.lre rcxì figr,§ev. ratÉB*),e. rcrr6nsoe. on the streÀgth of this I sugges, ,.ìdirrg rirurlgrtpoE (= rccrr6Bcr),e g) as a variant spelling of unrlgrr{,Lg, althougf; il one might take as er, (as in e1r,g I _L = in tÈe lasiline). TÀ. ,i,, i b.li.rr.,"i, palaeographically tenable, if far from secure3z. rt'may b.' .o-pared to tp in utpr,- in line 7. certainly the descender of putative e is clàar here, 7 ELE uqr- fI. So much is clear, and edd. pr.' elg {j.lrog gives accepr- with a small hook or serif pointing to the righì. This fact alone is ac- eblc sense. The problem is: the letter after tp is definitely not o. It con- tually sufficient to rule orir or fi. sists of a descender extending below the 'line' with perhaps a slight norì. Powell strangely -accuses §flilamowitz of negligence (onegle- curvc to the right at the bottom. r looks likely. Then the letter which genter») in printing xor,i here whilst the papyrrs hJr icrrd. cleà'rly ctld. pr. took as § is not really legible at all.It looks more like t to mc, Powell had not looked at the papyrus. *orì ìr i"d"bitable. suggesting the supplement elg ùr.pr.n6r.q,, Tyche raises the lowly 'to dpcpr.0qrcop6vo,, aorist middle participle from aor. II 'd0r1ra, a high-flying things' (like birds). A problem then presenrs itsclf with somewhat unusual formation but paialleled as early as pindar oit. e'.y thc following verb, which seems to begin with cr. I suggest syrrizcsis rarcx0qrcop6vo, (cf..Pytb. 4;2g and rr j), and later: philetas ap. Athen. bctwccn -rq and o-, which the scribe indicated by simply omitting thc rs.zz.8 quores an elegiac distichon with 0r1rop6vr1, a form *hi.h .._ r1. If thc tcxt was dictated the omission of q would be rcadily cxplic- curs twice in the Greek Anthology (6.2go.6 aJd 7.2g7.7 Beckby: ,t[rlc, rrs it is not sounded. The letters which follow arc most plau.si[rly 0rprap6vrl / 0qrcop6vcr). rcrrrl, in my opinicln, as u-r-},-s-E. I suggest corrccting to prcscnt

\il/ilamowitz 36 Althou€h correctly.notes that a transitive insrance of òr.egeircc,l,- òlrlglrov, is found in Euphorionfr. 4t.r,with'the sense.pierc.,,,p."."rr.,. ll.f trli:r Ast sttggcstt'rl ,ts rtltcrtt,rtivt' i.o('v,'rl,rrk', which w.,rrlrl strit :rp,rrt 1r'«rrrr tlrc,irl)l)iucnr Ast confirms 37 the reading as palaeographically possible. lri,rtrrs rrltt'r 0r1rr11r(,vrr. 174 Paideia l,XV (zoro) W. l). lruttt,t,.\, llyrnns to'l:ytbt tnl rrl,tttl thttru't t'rttitit's t75 crTper.g, although I would not want to rule out edd. pr. -d,eugcl5 as l. Gcneral comment aorist of cr'fgol. The section looks like this: 3.r. Metre Previous editors have been reluctant to name the metrc uscd by 'h thc poetle; where lines approximate to iambic trimeters (r.g. I and 6) I Wilamowitz cattioned against trimming them to fit this metrical scheme. In fact it seems to me that this text fits easily into a small peyd,l"cr. p6yo. Powell corrects quite wilfully to class of shorter post*classical hymns which use a kind of loose dacty- \Milamowttz ro tcrlùv d,yyel.ov. As says, the genitive d,0av&trrlv lo-epitrite .hythm which yerges at times on lyric . The typc is requires that we divide fl's to,luoyyel"ov into to,1ùv ffyyel.ov, accept- sccn in Ariphron's hymn to Hygieia (GH 6.3), Aristonoos' hymn tcr ing the somewhat anomalous masculine ending of the adjective with I{cstia (GH 2}), a hymn to the Moirai (PMG roI8b), a hymn to tàv ffyyel"ov (cf. LSJ s.z.), which edd. pr. compare with Ofrl,uE è69oq (CA r9r-z), the short hymn to Tyche quoted by Sto- (..u. dgl."). Schmidt defends tcrlud,yyel.ov as a noun ..wie sie in dieser baios (PMG rorg above), a short hymnic address to Titus Flaminius Zehh;ufis vorkommen» (p. +6ù. (CA ry;), Aristotle's hymn to Areta (GH 7.ù, and the to r r ndworv. The first three letters are rubbed, but this reading Asklepios by Makedonikos (GH T.)4". The ancestor of such compo- seems pieferable to alternatives (e.g. to6tolv), giving a suitable 'uni- sitions may be seen in texts such as Sophocles' paian to Asklepios versal' sweep to the closing statement. (GH 7$.The modulation from dactylic runs to iambic lines (3,6) is paean (lines r r o,ilèv (Sitzler). There is really little doubt about fl's reading here, paralleled by Ariphron's to Hygieia v9 dactylo-epitritc, iambic). lines in the hymn Tyche have a 'rising' start cr,-r-t-v, although the r, might conceivably be y (but d,yer,v does not line ro Most to make sense, and seems metrically impossible with five successive consisting of one or two (short) syllables; this, too, reminds onc of short syllables). This ending of the hymn is, perhaps, a little bathetic, Ariphron's piece, whose first two lines can actually be scanned as ana- but true enough. Edd. pr. very appositely compare the beginning of paests. There is no evidence of stress accent influencing prosody as in the hymn to Tyche in Stobaios (r .6.t3 - PMG rorg): ,6Xo, peg6now sorne late poetic compositions (e,g. the Tbilisi hymn to Dionysos, 3rd dqXà rcrì t6qpcr (see above). For 'É1er,g here cf. Plato (Laws c. Af)a'). IV p. TrtE) on Ananke: "'O lrèv òi 0e6g, 6orreg rcrì ò nal.crr,òE '€,yav, l"6yog, &qXnv r,E r

1e S«;ttvtll't'givcs rr cliffcrcnt colomctry ancl a mctrical schcrnc showing lorrgs ,rrttl shorls lrc §flilamowitz' conlecture t6l"og d,rgov (for ffyr,ov in commentary) ('v('n crììclì(ls sourc lincs (c.g. tl «ìr pty

.1 l(.,ss. ( it'or';',. l. r r lìltttt l t, -Zl'l', t6r, tool, pp. 61 tì4. ' ll cl. " r'rtltltt't t77 W. l). lrr tttt.t'.t, //yl/rrts lrt l.'1t11'r ttl'tlrrl 'tlttlt'trl ry6 Paideia LXV (zoro) 'ttt'l tlris was a vlin,rPl.,c'trl, g.itrg itacism and confusion of consonants, but the text itself, ir'tlì()r fclt that in thc, crrsc.['l'ycltc widespread cl:rim.n's wilful irc:ti.tts' or ,,;;i;*, cvcrything hc hacl just ,ai.l :rb.ut thc when r.rtor.d, may be Hellenistic. There is nothing in the language '' lis irn- i,,r.ri.rlly thei.rtho. hr, ,.qritted himself quite passably',1 conrenr which makes the text later than }{ellenistic. The preponder- 'lychc rc- no means redundani, i., pr.ticular, the imagc of ance of flowery epithets (lines r-2, Ùq-runt'rrlE T,r,o;ytxorpog 9) seems, rtgcs are by hearth' as men, well invokes the devastating pr()x- of this age. As we have seen in the introduction, ,lting 'ar ;he same indeed, characreristic 'dark which Tychc casts orì (Hygieia, ;,"iri oi lr.k in personal life. The cloud' hymns and apostrophic invocations of absract entities Ty- in as she dashes it to the ground might-rcsonatc che, Eirene eic.) reach cult status in the fourth and third centures BC; ii.,. irigl, ,nd -igky 'l'hc inr.stment bankersLr leaders of statc' Nilsson (t95 j,vol. II pp. 2oo-zI8) comments on the emergence of Ty- rlrc mind, of *"odern sometimes lends humble things to enable them to s()ar che and Daimon as gods of personal religion who rose to prominence *i,rg, Tyche image, but still apposite enoughat' Thc thc- these to which ,,p*r.d, is a conventional in the Hellenistic peiiod. It is precisely effective strokc irr Dic- ,rrrric tricoron of Klotho-Anànke-Iris is alio an the preset t .o-pòsition is addressed (named in lines z and 7)4'. 'swift'' Thc lincs c:.rnbinatio, *ith the epithets 'dark' and (repeated) tiorr and vocaliiation are iyric koine with some conspicuous forms: incx- rhe idea o? a strong force swobping swiftly and red,v, Itor,L, oppr.0qrcrp6vu. One notes that the piece lacks a praT,er of i.fi .r"vey we comparé the piece with, that in a hymn. Perhaps the_author ,,-rfrfy iir .h.r.n mrger. \fh; any sort, which is a normal constituent of side of Tyclrc ""we see our anonymous emphasizing the dark feli that Tyche was not a suitable entity to address Prayers to, a stobaios .'i-'., thÉ high-a'dl*ightylttto gloom - whilst thc willful and arbit rary force, not a just deity with a moral sense. ,Uility. to- pl:r"F; themitizes the gold.tt.gl9w Charis on Ty- The structure of the piece is clear and symmetrical. The opening rìrìonymous rn Siobril, 9f and the torch she raises in the dark (8). two lines are an invocation of Tyche (inrtocatio). Then the hymnode chc,s wing (l) hesitates with a reflective question how best to demonstrate the pow- er of this divine force. Such 'dubitative' questions are a common strat- \il/tt-lNt IluRl'liY ljniversitàt Heidelberg f)' egy by which hymn-writers begin a new section. In this case it leads st'rtrinar fùr Klassitthà Philologie william'furley@skph'uni-hcidclbcrg'tlc of the goddess's powers by showing the two i"io brief description Mrrstallhof ,-4 " raise the humble. This sides of her actionì: to humble the mighty and 6er t7 Heidelberg middle section (argumentu.m or, here inappropriately, pars epica) clos- es with a reneweJ salute to the deity, ri òcripov peyd)"o. There fol- lows another 'dubitative' question how best to address the goddess: the alternatives suggested - Klotho (one of the Moirai), Ananke or Iris, messenger of the gods - are intended to caPture asPects of Tyche: she influer.é, -.rr's faie43, she compels, and she mediates between the world of gods and men. The closing line sums up her omnipotence: she holds in her hands the beginnings and outcomes of all things, eternally. As just mentioned, this would be the normal place for a iPl.rr. prayeri visit me kindly, goddess' or similar44. Presumably the

4zFor a detailed study see now STAMENT GaspanRo 1997. Paus. Snell. 43 Pindar seems to have called Tyche one of the Fates, see 7.26.8 = fr.4I po]'eiv eÙpevÉouocrv, aa The Orphic Hyrnn 7z ends with dl"l.d, 0ed, l"ltopai oe .Biolt is sontctitttcs lss«rciatctl' is usu'rlly dcPictctl 'rs ,11 Ncnrcsis, rt g«,tltlcss with whtlnr'['ychc Sl.Boror nl.qgoro*, èn' eù6),BorE rted,teoow. Pindar prays to Tyche Soteira to protect (tt.' t t lincs r lrtttl to ll.rrrir)' l,tt. St.r, fuf"r,r,'r,'.1,lr' [tyrtt. t. N.,r'.ri, fitrlgl(lt'trtrtt Himera in Ol. rz.r-z wirrgctl, r78 l7() Paideia LXV (zoro) W. l). lr1nt.t,.y, llyrrtrts lg'lyrltr ttttl ttl,tltl ,tltstntcl ntlitits

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