La teogonía de Derveni construye un relato complejo sobre la organización del mundo y el poder divino desde el comienzo de los tiempos. El último rey divino, el dios supremo del universo, Zeus, que también es su demiurgo, devora el falo de su padre, Urano, para poder así regresar él mismo a una generación anterior a la primera, dando inicio bajo su reinado a un nuevo ciclo cósmico. Para Plotino, la castración de Urano representa la transcendencia del Uno-Bien respecto a (...) la Inteligencia, simbolizada por Crono; y el Alma, Zeus, que escapa a la voracidad de su padre, constituye el primer dios demiurgo, cuya función es la de servir de mediador entre lo inteligible y el mundo sensible. Derveni theogony constructs a complex narrative about the organization of the world and the divine power from the beginning of time. The last divine king, the supreme god of the universe, Zeus, who is also his demiurge, devours the phallus of his father, Uranus, in order to return himself to a generation before the first, giving birth under his reign to the beginning of a new cosmic cycle. For Plotinus, the castration of Uranus represents the transcendence of the One-Good with regard to Intelligence, symbolized by Kronos; and the Soul, Zeus, who escapes from the voracity of his father, is the first demiurge god, whose function is to serve as mediator between the intelligible and the sensible world. (shrink)

While heightening the nihilistic tension underlying the discourse of Richard Kearney, I highlight the positive contribution his book The God Who May Be makes to the debate concerning the need for a postmodern revitalization of religious symbolism. I argue for three qualifications of Kearney's argument, suggesting, in response to Kearney's exclusionary approach to the God who “neither is nor is not but may be,” a God whose possibility for meaningfulness arises as an “eschatological theogony” from out of the chaos (...) (confusion and openness) of contemporary religious symbolism. Arguing that such a radical reenvisioning of God must be tempered and given meaning through reentering and reaffirming onto‐theology in a qualified (hermeneutical) sense, I sketch a possible renewal of meaning for the traditional Christian parousia‐concept as a hermeneutical circle between Hegel's systematic closure of Western metaphysics and Heidegger's deconstructive appropriation of the hidden possibilities of presence within the onto‐theological tradition. (shrink)

In the proem of the “Theogony” Hesiod describes the conception and birth of the Muses. At ll. 58-60 he specifies that Mnemosyne’s pregnancy lasted one entire year, ένιαντός. This unusual one-year pregnancy puzzles Hesiod’s commentators; West, for example, translates ένιαντός as ‘due time’ rather than ‘year’. The purpose of this article is to argue that Hesiod intended ένιαντός to mean ‘year’.

Hesiod, um 700 vor Christus im armlichen Bootien lebend, ist nur wenig junger als Homer. Obwohl er von der hexametrischen Epik der "Ilias" und der "Odyssee" stark beeinflusst ist, bietet er in seinen beiden Werken "Vom Ursprung der Gotter" und "Werke und Tage" etwas vollig Neues: Zum ersten Mal in der europaischen Literaturgeschichte tritt uns ein Autor als Person entgegen. Er selbst erzahlt, wie die Musen ihm beim Schafehuten erschienen und den jungen Menschen zum Dichter beriefen.Ausserdem wird Hesiod zum Vater (...) einer eigenen literarischen Gattung: des Lehrgedichts. Er bringt die gottlichen Machte in verwandtschaftliche Beziehungen; so entsteht eine Deutung des Weltganzen, die bereits auf die philosophischen Entwurfe der vorsokratischen Denker vorausweist. Indem er die Erzahlungen uber die Gotter zusammenfasst und ordnet, wird Hesiod zur wichtigsten Quelle des griechischen Mythos. In den "Werken und Tagen," einer Art Bauernkalender, in den Bruchstucke einer ersten Autobiographie und einige beruhmte Sagen eingestreut sind, wirkt Hesiod mit seiner pessimistischen Beurteilung des eigenen Zeitalters erstaunlich aktuell. Mit Einfuhrung, Erlauterungen und Literaturhinweisen von E.G. Schmidt.". (shrink)

Stephen Scully both offers a reading of Hesiod's Theogony and traces the reception and shadows of this authoritative Greek creation story in Greek and Roman texts up to Milton's own creation myth, which sought to "soar above th' Aonian Mount [i.e., the Theogony]...and justify the ways of God to men." Scully also considers the poem in light of Near Eastern creation stories, including the Enûma elish and Genesis, as well as the most striking of modern "scientific myths," Freud's (...) Civilization and its Discontents. Scully reads Hesiod's poem as a hymn to Zeus and a city-state creation myth, arguing that Olympus is portrayed as an idealized polity and--with but one exception--a place of communal harmony. This reading informs his study of the Theogony's reception in later writings about polity, discord, and justice. The rich and various story of reception pays particular attention to the long Homeric Hymns, Solon, the Presocratics, Pindar, Aeschylus, Aristophanes, and Plato in the Archaic and Classical periods; to the Alexandrian scholars, Callimachus, Euhemerus, and the Stoics in the Hellenistic period; to Ovid, Apollodorus, Lucian, a few Church fathers, and the Neoplatonists in the Roman period. Tracing the poem's reception in the Byzantine, medieval, and early Renaissance, including Petrarch and Erasmus, the book ends with a lengthy exploration of Milton's imitations of the poem in Paradise Lost. Scully also compares what he considers Hesiod's artful interplay of narrative, genealogical lists, and keen use of personified abstractions in the Theogony to Homeric narrative techniques and treatment of epic verse. (shrink)

Cosmological narratives like the creation story in the book of Genesis or the modern Big Bang are popularly understood to be descriptions of how the universe was created. However, cosmologies also say a great deal more. Indeed, the majority of cosmologies, ancient and modern, explore not simply how the world was made but how humans relate to their surrounding environment and the often thin line which separates humans from gods and animals. Combining approaches from classical studies, anthropology, and philosophy, this (...) book studies three competing cosmologies of the early Greek world: Hesiod's Theogony; the Orphic Derveni theogony; and Protagoras' creation myth in Plato's eponymous dialogue. Although all three cosmologies are part of a single mythic tradition and feature a number of similar events and characters, Olaf Almqvist argues they offer very different answers to an ongoing debate on what it is to be human. Engaging closely with the ontological turn in anthropology and in particular with the work of Philippe Descola, this book outlines three key sets of ontological assumptions - analogism, pantheism, and naturalism - found in early Greek literature and explores how these competing ontological assumptions result in contrasting attitudes to rituals such as prayer and sacrifice. (shrink)

In this long-awaited work, Ray L. Hart offers a speculative theology that profoundly challenges traditional understandings of God. Drawing on a lifetime of reading in philosophy and religious thought, Hart unfolds a vision of God perpetually in process: an unfinished God. Breaking out of the classical doctrine of divine persons, Hart reimagines Trinity as composed of theogony, cosmogony, and anthropogony an emerging Godhead in relation to origins, temporal creation, and human existence. The book s ultimate import is that all (...) of Being and Nonbeing emerges together in interrelation and interdependence. This divine reality, Hart explains, is unfinished, imperfect, still in the course of a living-dying process that implicates all things, existent and inexistent, temporal and eternal. Doctrinal closuresomething that every orthodox theology requiresthus becomes impossible, and rightly so. Hart confronts those orthodoxies by asking: How can thinking of God reach closure when the divine is itself unfinished and its appearance to us always amounts to new creation? Hart s insights open the potencies of the nothing to the actualization of freedomthe freedom to create. That is, the nothing is not for nothingit is procreative. In the domain of radical speculative theology, then, Hart offers a fully deconstructive revisioning of the Christian God as ever an emerging and self-transfiguring actuality. It is a work with which all serious students of theology will wish to contend.". (shrink)

The essay considers synthetically the passages of Hesiod’s Theogony concerning Khaos, Gaia, Uranòs, and Tàrtaros as describing the cosmic structure at its very beginning and at its present state. The final result of the cosmogenetic process consists of three solid parallel disks of equal size separated from one another by the space of Khaos/Aèr. The whole structure is conceived of as an ideal cylinder, whose superior base is Uranòs, the inferior one is Tàrtaros and the median section is Gaia, (...) dividing the whole cylinder into two high semicylinders full of Khaos/Aèr. From this Khaos/Aèr, the primal Four Elements derive, as plants do from their roots, from which all other substances of the universe originate in turn. Thus, Khaos is arkhè not only in the chronological-historical sense, but also in the sense of an eternal generative substance of all things. We may conclude that the Hesiodic word khaos is a lexical ancestor of the later physical and philosophical term hyle because it conveys the primeval notion of ‘matter’. (shrink)

A close reading of Theogony 116-133, showing the logic of opposites and of whole/part relations that governs Hesiod's account of cosmogenesis, refuting the traditional interpretation of the birth of Chaos as the split between heaven and earth, and providing evidence that Hesiod considered and decided against making Tartaros the parent of the cosmos.

In the last decades Orphic scholarship has found itself in rather fortunate circumstances: there have been not only spectacular finds such as the Derveni Papyrus and the so-called Orphic Gold Tablets, but these texts together with all the other fragments ascribed to the authoritative author-figure Orpheus have been made accessible in the new and extensive edition by Alberto Bernabé . Understandably, recent discussions have focussed especially on the new material. Nevertheless, much work remains to be done on those fragments with (...) which we have long been familiar. The present study puts a new complexion on a text long taken as evidence for an Orphic theogony. (shrink)

Evelyn-White, Mair, and Brown all translated Hesiod into prose; Lattimore now offers us a very readable translation in blank verse. He writes, as Robert Lowell remarked, "the most accurate verse translations in the language." An attractive and refreshing volume.--L. S. F.

Les vers 11-21 de la Théogonie d’Hésiode soulèvent de nombreux problèmes d’interprétation. Le catalogue qu’ils proposent prend cependant un sens très cohérent si on le rapproche des deux autres catalogues du prélude de ce poème. Loin d’annoncer un contenu et de servir de sommaire, il énonce l’ordre établi par Zeus, dont le poète se propose ensuite de chanter la toute-puissance en racontant la geste qui l’a conduit à régner sur le monde.Hesiod’s Theogony . From Catalogue to Genealogy. Verses 11-21 (...) in Hesiod’s Theogony are very problematic. However their meaning appears clear if connected with the two other catalogues contained in the prelude to this poem. They are not a summary, but rather the glorification of the cosmic order established by Zeus, whose power the poet sings afterwards, telling how this god definitively conquered the kingdom to rule the world. (shrink)

The fact that the Odyssey and the Theogony share a number of verses in common seemed to most scholars of the nineteenth and early twentieth centuries reason enough to assume that one work has influenced the other. Now that more is known about the techniques of oral poetry, which have clearly influenced the composition of both works, a greater caution is rightly shown in arguing for the priority of the one or the other on the basis of individual verses (...) or phrases, since these may in fact be formulaic and thus common property which could have been used by any poet working in that tradition. In one case, however, Odyssey 8. 166–77 and Theogony 79–93, what is common is not a single verse but two and a half lines, so that the possibility of chance occurrence of the same formulas is virtually ruled out. Quite rightly therefore few critics have doubted that here either Homer has directly influenced Hesiod or vice versa. For this reason a good deal of the argumentation for the priority of the Odyssey or of the Theogony has concentrated on an examination of Od. 8. 166–77 and Th. 79–93. However, as is usual in such cases, most of the arguments which have been adduced in favour of the priority of the one or of the other are reversible because they are based on subjective grounds such as alleged incompetent adaptation of the earlier work, which is tacitly assumed to be superior. Since these arguments have recently been discussed in detail by Heinz Neitzel in a useful survey, it will not be necessary to review them here. (shrink)

Catalogues and ringcompositions are common motifs in early Greek epic poetry. In certain cases catalogues are enclosed by ringcompositions or ring-like structures. While the catalogues in “Iliad” and “Odyssey” have been well examined, the different catalogues found in Hesiod’s poems have received less attention. This article provides an analysis of the use of ringcompositions in several catalogues in the “Theogony”. It shows that structure and function of ringcomposition depend on the character of the catalogue: the less digressive and extensive (...) the catalogue, the more complex and elaborate the circle. It is further argued that this interdependence between catalogues and ringcompositions is related to the performance of oral poetry. (shrink)

Hesiod is among the most difficult Greek poets for problems of text. This is especially true in the case of the Theogony. Today we consider an over-scrupulous analysis of the logical consistency of a text a characteristic of nineteenth-century pedantry. Yet such latitude is not always allowed the Theogony. It was only twenty-five years ago that there appeared the most ruthless survey of its contents. This was Jacoby's edition of 1930, when only a mutilated remnant of the surviving (...) text was left the original poet; the rest was added by a whole series of subsequent rhapsodes. Hesiod received very much the same treatment four years later from Schwenn. Recently, however, two developments have gone a long way towards the defence of passages excluded by scholars from what they think the authentic text of Hesiod's Theogony. Many single lines or groups of verses have been bracketed by the editors of Hesiod, since they reproduce some other part of the poem in a similar or even identical form. The researches of the Dutch scholar Otterlo have now revealed that the fault is rather that of these editors. When they stigmatize the passages with the description of aimless repetition, they fail to appreciate what Otterlo claims as an inherent principle of oral recitation, or literature derived from an oral prototype. Otterlo's term for what would be an essential feature of this literature is ring-composition. A rhapsode provides a loose unity for his poem by repeating at the conclusion to the sections of the poem the verses which also introduced them. These repetitive verses announce the beginning and then the end of each section. We are wrong if we think that they have only been transferred from their original place in the poem to some later passage because there has been a lack of proper care in the process of transmission. Certainly this repetition is no adequate reason for us to suppose their occurence a second time in our text spurious. (shrink)