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1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And 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 1 Copyright by Corey M. Hackworth 2015 2 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 ii 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. iii 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. iv 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. v 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. vi , 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 vii 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 viii 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 ....................................................................................................................
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