From Choral to Monodic Hymns: Some Evidence from the Homeric Hymns

Abstract This paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.