The short hymn to Hypnos at the opening of the first komrnos of the Philoctetes is of particular interest in view of Sophocles' association with the cult of Asclepius. As suggested by the invocation the hymn is in fact intended to recall the paean, a form of liturgy with which Sophocles' audience must have become increasingly familiar in the years since the introduction in 420/19 of the Asclepius cult. Indeed if we are to judge by inscriptional and other remains the (...) output of hymns for the cult of the healing gods from the fifth century onwards must have been a prolific one and considerably in excess of that for other deities in the same period. It is well known that amongst the earliest writers of hymns for the cult was Sophocles himself. The Suda in the list of his works records one of which at least, a paean to Asclepius, was known as late as the second and third centuries A.D. Probably this is not to be identified with the Sophoclean paean on the Sarapion monument of the same period, which in so far as the extremely fragmentary state of the inscription will allow us to determine would seem to be addressed not to Asclepius himself but to his mother Coronis. (shrink)

The short hymn to Hypnos at the opening of the first komrnos of the Philoctetes is of particular interest in view of Sophocles' association with the cult of Asclepius. As suggested by the invocation the hymn is in fact intended to recall the paean, a form of liturgy with which Sophocles' audience must have become increasingly familiar in the years since the introduction in 420/19 of the Asclepius cult. Indeed if we are to judge by inscriptional and other remains the (...) output of hymns for the cult of the healing gods from the fifth century onwards must have been a prolific one and considerably in excess of that for other deities in the same period. It is well known that amongst the earliest writers of hymns for the cult was Sophocles himself. The Suda in the list of his works records one of which at least, a paean to Asclepius, was known as late as the second and third centuries A.D. Probably this is not to be identified with the Sophoclean paean on the Sarapion monument of the same period, which in so far as the extremely fragmentary state of the inscription will allow us to determine would seem to be addressed not to Asclepius himself but to his mother Coronis. (shrink)

The short hymn to Hypnos at the opening of the first komrnos of the Philoctetes is of particular interest in view of Sophocles' association with the cult of Asclepius. As suggested by the invocation the hymn is in fact intended to recall the paean, a form of liturgy with which Sophocles' audience must have become increasingly familiar in the years since the introduction in 420/19 of the Asclepius cult. Indeed if we are to judge by inscriptional and other remains the (...) output of hymns for the cult of the healing gods from the fifth century onwards must have been a prolific one and considerably in excess of that for other deities in the same period. It is well known that amongst the earliest writers of hymns for the cult was Sophocles himself. The Suda in the list of his works records one of which at least, a paean to Asclepius, was known as late as the second and third centuries A.D. Probably this is not to be identified with the Sophoclean paean on the Sarapion monument of the same period, which in so far as the extremely fragmentary state of the inscription will allow us to determine would seem to be addressed not to Asclepius himself but to his mother Coronis. (shrink)

The parodos of the Frogs is one of the most controversial passages in Aristophanes. Was it intended to parody the Eleusinian Mystery procession—or some other ritual? A writer wishing to discuss any part of the parodos must first outline his position with regard to this basic problem. I shall therefore as simply and briefly as possible state my own view and the reasons for it before dealing with the specific question posed by the title of the article.

The parodos of the Frogs is one of the most controversial passages in Aristophanes. Was it intended to parody the Eleusinian Mystery procession—or some other ritual? A writer wishing to discuss any part of the parodos must first outline his position with regard to this basic problem. I shall therefore as simply and briefly as possible state my own view and the reasons for it before dealing with the specific question posed by the title of the article.