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Downloaded 4.0 from License CHAPTER 9 A Hermeneutical Profile of the Hypomnemata This chapter offers a hermeneutical profile of the hypomnemata. This profile is based on the exegetical resources as they were defined in the previous chapter. As we shall see, the notion of Homer as a conscious, individual author and teacher governs interpretations of the Iliad in the hypomnemata. The resourc- es the hypomnema exegetes apply to derive meaning from their base text tie in with this overarching perspective. 1 Perspectivisation The hypomnema commentators approached the Homeric epics as the works of a single, conscious author and teacher by the name of Homer. For these exegetes, “Homer” referred not just to a collection of literary compositions,1 but to a single, conscious author, who had a name, a biography, and a style.2 Homer not merely composed, but also wrote down the Iliad and the Odyssey.3 1 The extent of Homer’s literary production was discussed in antiquity. Aristotle, for instance, famously attributed the Margites to Homer. Others attributed the Homeric Hymns, or even poetry in general, to Homer. See Rudolf Pfeiffer, History of Classical Scholarship: From the Beginnings to the Hellenistic Age (Oxford: Clarendon, 1968), 73–74; Alexander Beecroft, Authorship and Cultural Identity in Early Greece and China: Patterns of Literary Circulation (Cambridge: Cambridge University Press, 2010), 61–105. 2 See Dirk M. Schenkeveld, “Aristarchus and ΟΜΗΡΟΣ ΦΙΛΟΤΕΧΝΟΣ: Some Fundamental Ideas of Aristarchus on Homer as a Poet,” Mnemosyne 23 (1970): 162–78; Gregory Nagy, “Early Greek Views of Poets and Poetry,” in The Cambridge History of Literary Criticism, ed. George A. Kennedy, 9 vols. (Cambridge: Cambridge University Press, 1989–2013), 1:1–77 (35–38); George A. Kennedy, “Hellenistic Literary and Philosophical Scholarship,” in The Cambridge History of Literary Criticism, 1:200–19 (208); Robert Lamberton, “Homer in Antiquity,” in A New Companion to Homer, ed. Ian Morris and Barry Powell, MnS 163 (Leiden: Brill, 1997), 33–54; Jed Wyrick, The Ascension of Authorship: Attribution and Canon Formation in Jewish, Hellenistic, and Christian Traditions, HSCL 49 (Cambridge: Harvard University Press, 2004), 136–202; Beecroft, Authorship and Cultural Identity. 3 This idea was not universally accepted, as Josephus shows in C.Ap. 12. He writes: “Across the board among the Greeks no authentic writing is to be found older than Homer’s poem, and he clearly lived after the Trojan events; and even he, they say, did not leave his own poem in written form, but it was transmitted by memory and later put together from its re- cital in songs, and for this reason has many internal discrepancies” (trans. John M.G. Barclay, © pieter b. hartog, ���7 | doi:��.��63/9789004354�03_0�0 Pieter B. Hartog - 9789004354203 This is an open access chapter distributed under the terms of the CC BY-NC-NDDownloaded 4.0 from license. Brill.com09/27/2021 06:29:10PM via free access A Hermeneutical Profile of the Hypomnemata �99 This conception of Homer as a conscious author and writer did not originate with the Alexandrian scholars responsible for the hypomnemata. Its first ex- pressions must be dated in the 6th century BCE and attributed to a group of rhapsodes known as the Homeridai.4 These rhapsodes developed a biographi- cal tradition which mined the Iliad, the Odyssey, and other writings5 for infor- mation on Homer’s birthplace or biography.6 A popular image is that of Homer as a travelling rhapsode and the embodiment of the pan-Greek ideal. This por- trayal of Homer served the needs of the Homeridai: as guardians of Homer’s writings they sought to accrue the same pan-Greek status that Homer had for themselves. Aristotle later adopted this view on Homer as a conscious author and writer with a biography, and the scholars in the Alexandrian Museum and Library walked in his footsteps. Homer was believed to exhibit a recognisable literary style. Some ancient scholars held that the poet combined dialects and archaic forms to create his own language.7 A related view postulates that Homer’s language is not so much older than, but simply different from the Greek language of later periods. Against Apion, vol. 10 of Flavius Josephus: Translation and Commentary, ed. Steve Mason [Leiden: Brill, 2007], 15–16). On Josephus’s position in discussions on the authorship of Homer see Minna S. Jensen, The Homeric Question and the Oral-Formulaic Theory (Viborg: Museum Tusculaneum, 1980), 149–58; Gregory Nagy, “Homeric Scholia,” in A New Companion to Homer, 101–22 (108–10); Wyrick, The Ascension of Authorship, 145–59. 4 On the development of Homer as an author and the role of the Homeridai see Walter Burkert, “The Making of Homer in the Sixth Century b.c.: Rhapsodes versus Stesichoros,” in Papers on the Amasis Painter and His World: Colloquium Sponsored by the Getty Center for the History of Art and the Humanities and Symposium Sponsored by the J. Paul Getty Museum (Malibu, CA: The J. Paul Getty Museum, 1987), 43–62; Martin L. West, “The Invention of Homer,” CQ 49 (1999): 364–82; Barbara Graziosi, Inventing Homer: The Early Reception of Epic, CCS (Cambridge: Cambridge University Press, 2002). 5 A famous case is Hymn. Apoll. 166–75, which is the source for the long-standing tradition that Homer was blind. 6 On this biographical tradition see Graziosi, Inventing Homer; eadem, “The Ancient Reception of Homer,” in A Companion to Classical Receptions, ed. Lorna Hardwick and Christopher Stray (Malden, MA: Blackwell, 2008), 26–37; Gregory Nagy, Homer the Preclassic (Berkeley: University of California Press, 2010), 29–47; Mary R. Lefkowitz, The Lives of the Greek Poets, 2d ed. (Baltimore: Johns Hopkins University Press, 2012), 14–29; Beecroft, Authorship and Cultural Identity, 61–105; Adrian Kelly, “Biographies of Homer,” HE 129–30. 7 [Plutarch], De hom. 8–14. Cf. Giuseppe Scarpat, I dialetti greci in Omero secondo un gram- matico antico, SGL 2 (Arona: Peideia, 1952); Filippomaria Pontani, “ ‘Only God Knows the Correct Reading!’ The Role of Homer, the Quran and the Bible in the Rise of Philology and Grammar,” in Homer and the Bible in the Eyes of Ancient Interpreters, ed. Maren R. Niehoff, JSRC 16 (Leiden: Brill, 2012), 43–83 (47–55). Pieter B. Hartog - 9789004354203 Downloaded from Brill.com09/27/2021 06:29:10PM via free access �00 CHAPTER 9 Homer could have composed his epics in Attic or koine Greek, but he chose not to do so.8 In like vein, observations on the structure of the Iliad can be attrib- uted to Homer’s methodical composition of the epic. So, P.Oxy. 8.1086 1:11–18 describe the use of the principle of “reverse order” in the Iliad and the Odyssey as Homer’s “own custom.” And in P.Oxy. 2.221v 10:18–23, Homer’s structuring of the narrative is taken to be reflected in his anticipation of later events. This image of Homer as a conscious, meticulous author also inspires the interest of the hypomnema commentators in the textual history of the Iliad. As they were confronted with the textual fluidity of the Iliad in the pre-Hel- lenistic period,9 the Alexandrian scholars assumed that the original epics (as Homer had written them) had been corrupted in the course of their transmis- sion. This corruption consisted primarily of later additions, but some inter- pretations in the hypomnemata reckon with the deletion of original lines.10 Thus, the hypomnema commentators are not only interested in illuminating the sense and relevance of Homer’s words, but also in recovering them. To distinguish between original and spurious lines they used athetesis and dele- tion: the first method consists of marking spurious lines with the obelos,11 the second removes spurious lines from the text.12 The reasons for athetesis and deletion could be internal, external, or a combination of both, but most cases 8 Pontani, “ ‘Only God Knows the Correct Reading!’,” 54. 9 On which see Stephanie West, The Ptolemaic Papyri of Homer, PC 3 (Cologne: Westdeutscher, 1967); Michael Haslam, “Homeric Papyri and Transmission of the Text,” in A New Companion to Homer, 55–100 (63–69); Graeme D. Bird, Multitextuality in the Homeric Iliad: The Witness of the Ptolemaic Papyri, HSt 43 (Cambridge: Center for Hellenic Studies, 2010). 10 Martin L. West, Studies in the Text and Transmission of the Iliad (Munich: Saur, 2001), 11–14 lists seven types of interpolation that may occur in the transmission of the Iliad. 11 The obelos was developed by Zenodotus to indicate spurious lines which were not de- leted from the text of the Iliad. See Kathleen McNamee, Sigla and Select Marginalia in Greek Literary Papyri, PB 26 (Brussels: Fondation Égyptologique Reine Élisabeth, 1992), 8–9 (n. 4); Franco Montanari, “Zenodotus, Aristarchus and the Ekdosis of Homer,” in Editing Texts: Texte edieren, ed. Glenn W. Most, Aporemata 2 (Göttingen: Vandenhoeck & Ruprecht, 1998), 1–21; Francesca Schironi, “The Ambiguity of Signs: Critical ΣΗΜΕΙΑ from Zenodotus to Origen,” in Homer and the Bible, 87–112 (89–90). 12 It remains debated to what extent ancient scholars would delete lines from their Iliad ekdoseis. Zenodotus seems to have been more prone to delete lines than his successors. See Montanari, “Zenodotus, Aristarchus and the Ekdosis of Homer”; Richard Janko, Books 13–16, vol. 4 of The Iliad: A Commentary, ed. Geoffrey S. Kirk (Cambridge: Cambridge University Press, 1994), 20–38. Pieter B. Hartog - 9789004354203 Downloaded from Brill.com09/27/2021 06:29:10PM via free access A Hermeneutical Profile of the Hypomnemata �0� of athetesis in the hypomnemata are based on internal grounds.13 The aim of these textual investigations is not to arrive at an abstract entity like the “earliest recoverable text of the Iliad,” but to recover Homer’s ipsissima verba.
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