Catalogue of Women

The Catalogue of Women (Ancient Greek: Γυναικῶν Κατάλογος, Gynaikôn Katálogos)—also known as the Ehoiai (Ἠοῖαι,  /eɪˈhɔɪaɪ/)[lower-alpha 1]—is a now fragmentary Greek hexameter poem that was attributed to Hesiod during antiquity. The "women" of the title were in fact heroines, many of whom slept with gods, bearing the heroes of Greek mythology to both divine and mortal paramours. In contrast with the focus upon narrative in the Homeric Iliad and Odyssey,[1] the Catalogue was structured around a vast system of genealogies stemming from these unions and, in M.L. West’s appraisal, covered "the whole of the heroic age."[2] Through the course of the poem's five books, these family trees were embellished with stories involving many of their members, and so the poem amounted to a compendium of heroic mythology in much the same way that the Hesiodic Theogony presents a systematic account of the Greek pantheon built upon divine genealogies.[3]

For a variety of reasons, most scholars do not currently believe that the Catalogue (or, at least, all of the Catalogue) should be considered the work of Hesiod,[4] but doubts about the poem's authenticity have not lessened its interest for the study of literary, social and historical topics. As a Hesiodic work that treats in depth the Homeric world of the heroes, the Catalogue offers a transition between the divine sphere of the Theogony and the terrestrial focus of the Works and Days by virtue of its subjects' status as demigods.[5] Given the poem's focus upon heroines in addition to heroes, it provides evidence for the roles and perceptions of women in Greek literature and society during the period of its composition and popularity.[6] Greek aristocratic communities, the ruling elite, traced their lineages back to the heroes of epic poetry; thus the Catalogue, a veritable "map of the Hellenic world in genealogical terms",[7] preserves much information about a complex system of kinship associations and hierarchies that continued to have political importance long after the Archaic period.[8] Many of the myths in the Catalogue are otherwise unattested, either entirely or in the form narrated in the Catalogue, and held a special fascination for poets and scholars from the late Archaic period through the Hellenistic and Roman eras.[9]

Despite its popularity among the Hellenistic litterati and the reading public of Roman Egypt,[10] the poem went out of circulation before it could pass into a medieval manuscript tradition and is preserved today by papyrus fragments and quotations in ancient authors. Still, the Catalogue is much better-attested than most "lost" works,[11] with some 1,300 whole or partial lines surviving: "between a third and a quarter of the original poem", by one estimate.[12] The evidence for the poem's reconstruction—not only elements of its content, but the distribution of that content within the Catalogue—is indeed extensive, but the fragmentary nature of this evidence leaves many unresolved complexities and has over the course of the past century led to several scholarly missteps.[13] This article reflects, for the most part, M.L. West's reconstruction of the Catalogue as presented in his landmark monograph on the poem,[14] but also takes account of scholarship that has appeared since its publication, especially Martina Hirschberger's 2004 commentary.[15]

Contents

Title and the e' hoie-formula

See also: Megalai Ehoiai

Ancient authors most commonly referred to the poem as the Catalogue of Women (or simply the Catalogue),[16] but several alternate titles were also employed.[17] The Suda gives an expanded version, Catalogue of Heroic Women (Γυναικῶν Ἡρωϊνῶν Κατάλογος),[18] and another late source, Tzetzes, prefers to call the poem, plainly, the Heroic Genealogy (Ἡρωϊκὴ Γενεαλογία).[19] The most popular alternate title was Ehoiai (Ἠοῖαι), a play upon the feminine formula e' hoie (ἠ’ οἵη,  /ˈeɪ ˈhɔɪeɪ/), "or such as", which introduces new sections within the poem via the introduction of a heroine or heroines.[20] This nickname provided the standard title for a similar work, the Megalai Ehoiai or Great Ehoiai (Μεγάλαι Ἠοῖαι), that was also attributed to Hesiod.[21]

As is reflected by its use as an alternate title for the poem, the e' hoie-formula was one of the poem's most recognizable features. The formula may have belonged originally to a genre of poetry that simply listed notable heroines,[22] but in the Catalogue it is used as a structuring tool that allows the poet to resume a broken branch of a family tree or to jump horizontally across genealogies to a new figure and line of descent.[23] A characteristic example can be found in the introduction of the daughters of Porthaon at Cat. fr. 26.5–9:[lower-alpha 2]

ἠ' οἷαι [κο]ῦραι Πορθάονος ἐξεγέν[οντο[lower-alpha 3]
τρε[ῖς, ο]ἷαί τε θεαί, περικαλλέα [ἔργ' εἰδυῖα]ι·
τ[ά]ς ποτε [Λ]αο[θό]η κρείουσ' Ὑπερηῒς ἀ[μύ]μων
γεί]νατο Παρθᾶνος [θ]α[λ]ερὸν λέχ[ος] ε[ἰσ]αναβᾶσα,
Εὐρ]υθεμίστην τε Στρατ[ο]νίκην [τ]ε Στ[ε]ρόπην τε.

Or such as (e' hoiai) the maidens sired by Porthaon,
three, like goddesses, skilled in all-beautiful works,
whom Laothoe the blameless Hyperian queen once
bore, entering Porthaon's blooming bed:
Eurythemiste and Stratonice and Sterope.

The preceding section of the poem had dealt at some length with the extended family of Porthaon's sister Demodice; the e' hoiai-formula is used here to jump backwards in time as the poet completes his treatment of the descendents of Agenor, Porthaon and Demodice's father, by covering the son's family. Elsewhere the formula is used as a transition to far more distant families. The e' hoie of Mestra, for example, ultimately serves to introduce the family of Sisyphus who hoped to win her as bride for his son Glaucus. Although that marriage does not take place, the descendents of Sisyphus are soon presented.[24]

Content

According to the Suda, the Catalogue was five books long.[18] The length of each book is unknown, but it is likely that the entire poem consisted of around 4,000 lines.[25] The vast majority of the content was structured around major genealogical units: the descendants of Aeolus were found in book 1 and at least part of book 2, followed by those of Inachus, Pelasgus, Atlas and Pelops in the later books.[26]

Book 1

The first is by far the best attested book of the poem, with several extensive papyri overlapping ancient quotations or coinciding with paraphrases: at least 420 verses survive in part or entire.[27]

The Catalogue was styled as a continuation of the Theogony, and the proem takes the form of a re-invocation of the Muses to introduce a new, slightly more terrestrial topic ( Cat. fr. 1.1–5.):

Νῦν δὲ γυναικῶν ⌊φῦλον ἀείσατε, ἡδυέπειαι[lower-alpha 3]
Μοῦσαι Ὀλυμπιάδε⌊ς, κοῦραι Διὸς αἰγιόχοιο
αἳ τότ' ἄρισται ἔσαν [
μίτρας τ' ἀλλύσαντο [
μισγόμεναι θεοῖσ[ιν

 Now do sing of the tribe of women, sweet-voiced
Olympian Muses, daughters of aegis-bearing Zeus,
they who were the best in those days [ ...
and loosed their girdles [ ...
mingling [i.e. having sex] with the gods [ ...

It is unlikely that the proem continued in an elaborate fashion similar to the opening of the Theogony.

The family of Deucalion as eponyms of Greek tribes

Deucalion Pyrrha Zeus
Hellen
(hellenes)		 Thyia Pandora II
Dorus
(dorians)		 Xuthus Aeolus
(aeolians)		 Magnes
(magnetes)
 Macedon
(macedones)		 Graecus
(graeci)
Achaeus
(achaeans)		 Ion
(ionians)

The genealogical relation between the early Greek tribes within the family of Deucalion.[28]

Book 2

It is uncertain at what point among the extant fragments the division between books 1 and 2 fell, but at least some of the Aeolid families were covered in the second book.[29] The families of Perieres, Deioneus and Sisyphus (in that order) almost certainly appear in the 2nd book because there does not seem to be enough room left in book 1 to accommodate them after the children of Neleus and Pelias.[30]

Book 3

The division between books 2 and 3 presents a special problem for the reconstruction of the Catalogue.[31] A fragmentary scholion to Theocritus, Idyll 3.40 appears to attribute the story of Atalanta to "Hesiod in book 3", a method of citation that almost certainly refers to the Catalogue.[32]

ἠ' οἵη Σχ[οινῆος ἀγακλε]ιτοῖο ἄνακτος[lower-alpha 3]
. . . . .  . . . . .  . . . . .]σι ποδώκης δῖ' Ἀταλάν[τη
. . . . . .  . . . . . .  Χαρί]των ἀμαρύγματ' ἔχο[υσα

Or such as she, [much]-famed lord Sch[oeneus]'
[daughter, ... ] swift-footed noble Atalanta
[ ... ] with the gleam of the Charites

Book 4

Before the papyri began accruing, the longest extant passage of the Catalogue was known from the Shield of Heracles, the first 56 lines of which were borrowed from book 4 according to the scholia to the Shield, a fact confirmed by a second century papyrus which contains the preceding sections of the Catalogue and followed by the first few lines transmitted in the other Hesiodic work.

Book 5

Book 5 was different: it opened with a nearly 200-line catalogue of the suitors of Helen, similar in style to the Catalogue of Ships in Iliad book 2, and probably led into an account of the beginning of the Trojan War. Most of the leaders of the Greek forces who figure in the Homeric catalogue also attempted to win Helen, but Menelaus was granted her hand by Tyndareus since he could give the most bride prices.

Notable unplaced and disputed fragments

Many fragments that are securely attributed to the Catalogue, some of which are relatively substantial, cannot be placed within the poem because their content is either too obscure or could be assigned to different individuals or genealogies which are themselves difficult to locate within the five books.[33]

The Wedding of Peleus and Thetis

Like the marriage of Helen, the birth of Achilles was an event that played a major part in the climax of the Heroic Age,[34] and the wedding of his parents Peleus and Thetis was granted elaborate coverage in the Catalogue.

"τρὶς μά⌋καρ Αἰακίδη καὶ τετράκις ὄλβιε Πηλεῦ,[lower-alpha 3]
. . . . .] . ο[.] μέ[γα] δῶρον Ὀλύμπιος εὐρύοπα Ζεύς
. . . . .  . . . .].[. . . . μ]άκαρες θεοὶ ἐξετέλεσσαν·
ὃς τοῖσδ' ἐν μεγάροις ἱε⌋ρὸν λέχος εἰσαναβαίνων

"Thrice blessed son of Aeacus, four-times fortunate Peleus,
[to whom ... ] wide-ruling Olympian Zeus [granted] a great gift,
[for whom ... ] the blessed gods brought about [a marriage.]
He who in these halls enters a holy marriage-bed ...

Cyrene

The place of Cyrene within the poem has implications beyond the level of content, for if her narrative is to be connected to the city of Cyrene in Libya, the terminus post quem for the composition of the Catalogue would be 631 BCE, the approximate year of that city's foundation.[35] Pindar, Pythian 9 tells how Apollo saw Cyrene hunting in her native Thessaly and was immediately enamoured of the tomboy. The god goes to the cave of the wise centaur Chiron and asks who she is and whether it would be wise to consort with her. Chiron then prophesies that it is fated for Cyrene and Apollo to mate, and that he will bring her across the sea to Libya, where she will be queen of the a portion of the land and bear to him a son, Aristaeus. A scholium on the ode states that "Pindar took the story from an Ehoie of Hesiod's" (ἀπὸ δὲ Ἠοίας Ἡσιόδου τὴν ἱστορίαν ἔλαβεν ὁ Πίνδαρος) and relates the opening lines of the section (Cat. fr. 215):

ἠ' οἵη Φθίηι Χαρίτων ἄπο κάλλος ἔχουσα
Πηνειοῦ παρ' ὕδωρ καλὴ ναίεσκε Κυρήνη

Or such as she in Phthia with beauty from the Charites,
dwelling by the water of Peneus, Cyrene

Actaeon

The myth of Aristaeus' son Actaeon is known to have been narrated in the Catalogue by virtue of a paraphrase found in a fragmentary dictionary of metamorphoses.[36] According to the dictionary, the Catalogue included a variant of the myth in which Actaeon was changed into a stag by Artemis and then killed by his own hounds because he attempted to take Semele as his wife, thus angering Zeus, who had designs upon the woman.[37] Before this testimonium appeared, another papyrus containing 21 hexameters related to the Actaeon myth was published by Edgar Lobel, who tentatively attributed the text to the Catalogue.[38] As the fragment opens, Actaeon has already been torn apart by his dogs, and a goddess—Athena or, less likely, Artemis[lower-alpha 4]—arrives at Chiron's cave. She prophesies to the centaur that Dionysus will be born to Semele and that Actaeon's dogs will roam the hills with him until his apotheosis, after which they will return to stay with Chiron. At this point the papyrus is damaged, but it is clear that the dogs are delivered from a "madness" (λύσσα, lussa, line 15) and begin to mourn their master as the goddess returns to Olympus. Merkelbach and West did not include this papyrus in their edition of the fragment, with the latter calling it an "incoherent epic pastiche" which would cause author of the Catalogue to "turn in his grave if he knew that it had been attributed to him."[39] According to Glenn Most, some scholars believe that the text is Hellenistic,[40] but it is demonstrably archaic, and at least a few classicists today consider it to be part of the Catalogue.[41][lower-alpha 5]

Date and authorship

During antiquity the Catalogue was almost universally considered the work of Hesiod.[42] Pausanias reports, however, that the Boeotians living around Mount Helicon during his day believed that the only genuine Hesiodic poem was the Works and Days and that even the first 10 lines of that poem (the Hymn to Zeus) were spurious.[43] The only other expression of doubt that has survived is found in Aelian, who cites "Hesiod" for the number of Niobe's children, but qualifies his citation with "unless these verses are not by Hesiod, but have been passed off falsely as his, like many other passages."[44] Aelian's skepticism, however, appears to stem from the still common belief that Hesiodic poetry suffered from interpolation,[45] and it is impossible to tell whether he regarded the entire Catalogue as spurious or not.[lower-alpha 6] These two passages are, in any event, isolated, and more discerning critics like Apollonius of Rhodes, Aristophanes of Byzantium and Crates of Mallus apparently found no reason to doubt the attribution to Hesiod, going so far as to cite the Catalogue in arguments concerning the content and authenticity of other Hesiodic poems.[46]

Modern scholars have not shared the confidence of their Hellenistic counterparts, and today the Catalogue is generally considered to be a post-Hesiodic composition. Richard Janko's survey of epic language suggests that the Catalogue is very early, perhaps contemporary with Hesiod's Theogony, that is, about 700 BCE.[47]

Martin West argues on poetic, linguistic,[lower-alpha 7] cultural and political grounds that an Athenian poet "compiled the Catalogue of Women and attached it to Hesiod's Theogony, as if it were all Hesiodic," sometime between 580 and 520, and thinks it possible that this range might be narrowed to the period following 540.[48] He sees, for example, the marriage of Xuthus to a daughter of Erechtheus as a means of subordinating all of Ionia to Athens, since their union produced the eponym Ion.[49] Similarly, Sicyon is made a son of Erechtheus (fr. 224), which West takes as a reflection of the tyrant Cleisthenes of Sicyon's attempts to promote Ionian–Athenian interests in the polis, which had traditionally been more closely connected to Dorian Argos.[50] This and other considerations would, in West's view, establish a terminus post quem of c. 575, but he prefers a later dating on the assumption that Theogony 965–1020, which he assigns to the latter portion of the 6th century,[51] was contemporaneous with the composition of the Catalogue.[52]

West's arguments have been highly influential,[53] but other scholars have arrived at different conclusions using the same evidence. Fowler thinks that the Sicyon's genealogy would more likely reflect a composition before Cleisthenes' death (c. 575) and dates the poem to the period closely following the First Sacred War, connecting its content to the growing influence of the Amphictyonic League and placing its author in Aeolian Thessaly because of the Aeolid family-trees centered around that region which dominate the earlier portions of the poem.[54] Hirschberger, on the other hand, takes this focus upon the Aeolids and the Catalogue poet's perceived interest in eastern peoples to be indicative of a poet from Aeolis in Asia Minor, and proposes that the Catalogue was composed there between 630 and 590, viewing an apparent allusion to the poem by Stesichorus (died c. 555) as the ultimate terminus ante quem.[55] Other dates have been proposed: Jacques Schwartz thought that the poem reached its final form between 506 BCE and 476 BCE.

The Catalogue and archaic epic

It has been observed that the Catalogue poet betrays a style that is "studiously imitative" of the Theogony and Works and Days.[56]

Reception and influence

Hellenistic period

The Catalogue was extremely influential in the Hellenistic period.[57]

The most famous Hellenistic allusion to the Catalogue is found in Hermesianax's Leontion, which included a catalogue of great literary figures and their loves, beginning with Orpheus and Agriope and proceeding down to the poet's contemporaries. Some of the entries engage playfully with their subjects' work: Homer, for example, is portrayed as pining for Penelope. Directly preceding that lovestruck bard comes Hesiod's blurb (Leontion fr. 7.21–26 Powell=3 Lightfoot):

φημὶ δὲ καὶ Βοιωτὸν ἀποπρολιπόντα μέλαθρον
     Ἡσίοδον πάσης ἤρανον ἱστορίης
Ἀσκραίων ἐσικέσθαι ἐρῶνθ' Ἑλικωνίδα κώμην·
     ἔνθεν ὅ γ' Ἠοίην μνώμενος Ἀσκραϊκὴν
πόλλ' ἔπαθεν, πάσας δὲ λόγων ἀνεγράψατο βίβλους
     ὑμνῶν, ἐκ πρώτης παιδὸς ἀνερχόμενος.

And I also say that, leaving behind his Boeotian home,
     Hesiod, the keeper of all inquiry,
went smitten to the Heliconian town of the Ascraeans.
     There he, wooing Ascraean Ehoie,
suffered much, writing all his books of knowledge
     in homage, beginning from his first girlfriend.

Here the e' hoie-formula is styled as the name of a woman, cleverly rendered "Anne Other" by Helen Asquith, and the grumpy Hesiod who reviled his home in Ascra at Works and Days 639–40 becomes a discomfited lover-boy in the village.[58]

Interaction with the Catalogue in Hellenistic poetry was not limited to plays upon the e' hoie-formula or to a predilection for poetry in catalogue-form.[59]

Rome

Catullus, a poet who made plain his Callimachean affiliations, is the earliest Roman author who can be seen to engage with the Catalogue.[60]

Transmission and reconstruction

It is impossible to tell exactly when the last complete copy of the Catalogue was lost. Fragments of over fifty ancient copies have been found, dating from the Hellenistic period through early Byzantine times.[61] An ancient book label from the century or so after the latest Catalogue papyrus lists the contents of a 5th or 6th century Hesiodic codex as "Hesiod's Theogony, Works and Days and Shield", and it appears that by about this time the Byzantine triad of Hesiod's works had become the poet's notional corpus, to the detriment of the other poems which had traveled under the poet's name.[62] Knowledge of the Catalogue did not altogether cease with the loss of the final complete copy, however, and well into medieval times authors such as Eustathius of Thessalonica and Tzetzes could cite the poem via fragments contained in other ancient authors. Other vestiges of the poem's influence are less clear: the Pseudo-Apollodoran Bibliotheca, an early Roman-era handbook of Greek mythology, for example, is widely believed to have taken the Catalogue as its primary structural model, although this is not stated explicitly within that text.[63]

During the modern era, the collection and interpretation of the Hesiodic fragments began during the 16th and 17th centuries, primarily with the editions of Heinsius (1603) and Graevius (1667). The earliest collections simply presented ancient quotations organized by the quoting author, and it was not until the work of Lehmann (1828) and Marckscheffel (1840) that attempts at a proper reconstruction began.[64] Marckscheffel was the first to recognize that the early portions of the poem treated the descendants of Deucalion, but he regarded the Catalogue and Ehoiai as two initially separate works that had been joined: the former was genealogically structured, while the latter, in Marckscheffel's view, simply recounted myths involving notable Thessalian and Boeotian heroines, with each introduced by the e' hoie-formula.[65] Since the e' hoie of Alcmene was attested for book 4, Marckscheffel proposed that books 1–3 were the "Catalogue", and books 4 and 5 were the "Ehoiai".[65] As the 19th century progressed, there were several other important observations about the genealogical structure of the Catalogue. In 1860 Adolf Kirchhoff noted the mass of information connected to the family of Io, a stemma which could be assigned to the third book because of an ancient citation placing Phineus, one of her descendents, there.[66] The picture of the Catalogue that was emerging began to resemble the Bibliotheca in structure, but Theodor Bergk was the first to suggest explicitly (though in passing) that the poem might be reconstructed with the help of the mythographic work.[67] Bergk and his contemporaries still largely followed Marckscheffel's conclusion that the Catalogue and Ehoiai were semi-distinct texts, and it was not until 1894 that Friedrich Leo finally demonstrated that these were in fact alternate titles for a single poem.[68]

A few years before Leo's paper, the first small papyrus fragment was found, and the early decades of the 20th century would see the publication of several other pieces which added significantly to the modern text of the Catalogue.[69]

Editions and translations

Critical editions

Translations

Notes

  1. ^ The Latin transliterations Eoeae and Ehoeae are also used (e.g. Cantilena (1979), Solmsen (1981)); see Title and the e' hoie-formula, below.
  2. ^ Unless noted otherwise, this article cites the Catalogue according to the text and numeration of the edition of record, that of Merkelbach (de) and West (M–W). Several fragments have appeared since the publication of their primary edition (Merkelbach & West (1967)) and must be consulted in M–W's selection of fragments in the second and third editions of Solmsen's Oxford Classical Text Hesiod (Merkelbach & West (1990)); such fragments are distinguished by appending "OCT" to the fragment number. Martina Hirschberger's text and commentary (Hirschberger (2004)) follows a different numeration and includes several fragments which M–W did not believe to belong to the Catalogue. In the case of fragments found in Hirschberger but not M–W, or where her commentary contributes to the discussion at hand, her fragment numbers are specified. Almost all of the fragments printed by both M–W and Hirschberger can be found, with translation, in Most (2007) in which a table outlining these different numbering systems can be found.
  3. ^ a b c d In editions of texts transmitted by papyri, which are often damaged, a system of editorial markers is used to clarify the basis for the printed text (see Leiden Conventions). The markers used in this article are:
    • Full brackets ( [ ] ) mark places where the papyrus is damaged; letters enclosed within these brackets are editorial conjectures, some of which will be more-or-less certain, while others will be strictly exempli gratia supplements meant to give the required sense of the passage.
    • Half brackets ( ⌊ ⌋ ) enclose text that is supplied by another source, such as an ancient quotation.
    • Dots ( . ) take the place of illegible letters; dots within full brackets give the approximate number of letters lost in a lacuna.
  4. ^ The general consensus is that this is Athena because she occasionally acts as Zeus's courier and because the goddess is referred to as the "daughter of great aegis-bearing Zeus" (αἰγιόχοιο Διὸς κούρη μεγάλοιο, aigiokhoio Dios kourē megaloio), one of Athena's common appelations; cf. Lobel (1964, p. 6), Janko (1984, p. 302), DePew (1994, pp. 413–15). Casanova (1969a, pp. 33–4), argues that similar epithets are also applied to Artemis, and that her central role in the myth and status as the goddess of both the hunt and the taming of animals would make her a deity more likely to cure the hunting dogs of their madness in line 15.
  5. ^ More doubtful is the attribution of ten corrupt verses found in the manuscripts of Apld. Bibl. 3.4.4 which concern the Actaeon myth. After relating the motivation for Actaeon's death which was found in the Catalogue (but attributing it to Acusilaus), Apld. reports the more well-known version in which the transformation and death are punishment for Actaeon's having seen Artemis bathing. He continues to say that Artemis transformed him into a stag and drove the dogs into a "madness" (λύσσα, cf. P.Oxy. 2509.15) so that they wouldn't recognize their master as they devoured him. Distraught, they then went in search of Actaeon, before coming back to the cave of Chiron, who made an image of the dead man so as to cease their grief. Following this paraphrase, come the ten verses interpolated into the text of the Bibliotheca (Janko (1984, p. 305)) which name some of the hounds and describe their rending of Actaeon. Malten (1911, pp. 20–3) and Casanova (1969a) believe that these lines also derive from the Catalogue, but many consider them Hellenistic (e.g. Powell (1925)), and none of the recent editions include them; cf. Janko (1984, pp. 305–7).
  6. ^ The situation is complicated by the fact that the word translated as "verses" above, ἔπη, can also mean "poem" (cf. LSJ s.v. ἔπος). Hirschberger (2004, p. 42), appears to follow the latter interpretation; cf., already, Marckscheffel (1840, p. 140), on this passage and Merkelbach & West (1965, p. 300), on a similar issue regarding the Wedding of Ceyx.
  7. ^ The two linguistic features which West cites are: 1.) the Attic participial form οὖσαν (oũsan, "being") which is metrically guaranteed at fr. 204.91 instead of the properly epic ἐοῦσαν (West (1985a, p. 170)); and, 2.) the curious form γλωθρῶν (glōthrōn) for βλωθρῶν (blōthrōn, "tall") at line 124 of the same fragment, which he takes to be a "hyperepicism that only an Attic poet could have arrived at" (West (1985a, pp. 170–1); in more detail in West (1963b)).

References

  1. ^ Cf. West (1985a, p. 5): "Such [genealogical] poetry differs from the Homeric type in that it is not primarily concerned with particular heroic exploits (though these are mentioned) and that its subject matter extends over generations instead of being the events of a few days of weeks."
  2. ^ West (1985a, p. 3); cf. Hunter (2005b).
  3. ^ West (1985a, p. 3), Most (2007, p. liii–liv).
  4. ^ Cf. West (1985a, pp. 127–37) and Hirschberger (2004, pp. 42–51); a notable exception is Dräger (1997, pp. 1–7). See Date and authorship, below.
  5. ^ Clay (2005); cf. Clay (2003).
  6. ^ Doherty (2006), Ormand (2004), Osborne (2005), Irwin (2005).
  7. ^ Hunter (2005b, p. 1).
  8. ^ West (1985a, pp. 7–11), Fowler (1998).
  9. ^ Most (2007, pp. lxv–lxvi), D'Alessio (2005b), Asquith (2005), Hunter (2005c).
  10. ^ Cingano (2009, p. 107), states that "it surely was one of the most widely read poems in the libraries of Graeco-Roman Egypt."
  11. ^ West (2008, p. 29): "There is no other work of ancient literature, with the possible exception of Callimachus' Aitia, for which papyri have made such a contribution to the resurrection in outline of a lost composition in several books."
  12. ^ Osborne (2005, p. 6).
  13. ^ Davies (1988, p. 7), West (1985a, pp. 31–50).
  14. ^ West (1985a), which Hunter (2005b, p. 2), refers to as "the single most important modern contribution to [the Catalogue's] elucidation".
  15. ^ Hirschberger (2004). Although Hirschberger's commentary, a lightly revised version of her dissertation, contains much helpful information about the Catalogue, it must be used with caution when it comes to matters of textual criticism and the reconstruction of the poem; cf. D'Alessio (2005c) and West (2006a).
  16. ^ E.g. Pausanias 1.43.1 = Cat. fr. 23b. For the shortened title, e.g. Strabo 1.2.34 = Cat. fr. 137.
  17. ^ For the ancient naming conventions, see West (1985a, p. 1) and Hirschberger (2004, pp. 26–30). The plural Catalogues of Women also appears in Menander Rhetor; see Merkelbach & West (1967, p. 2), while the corresponding shorthand Catalogues is slightly more common (e.g. Schol. A.R. 3.1086 = Cat. fr. 2.); cf. West 1985a, p. 1 n. 1, and Hirschberger 2004, p. 26 n. 35.
  18. ^ a b Suda s.v. Ἡσίοδος (eta 583).
  19. ^ Tzetzes, Exegesis of the Iliad p. 63.14. Cardin (2009) argues that Tzetzes understood Heroic Genealogy to be the title of a work distinct from the Catalogue.
  20. ^ The plural form is ἠ' οἷαι (e' hoiai) as at e.g. fr. 26.5. Cf. Hesychius η 650, Ἠοῖαι· ὁ Κατάλογος Ἡσιόδου, "Ehoiai: Hesiod's Catalogue".
  21. ^ Cohen (1986) has argued that the Catalogue and Megalai Ehoiai were the same poem or that the latter was the title of an expanded edition of the former, but the vast majority of scholars view these as two distinct works; see, most recently, D'Alessio (2005a).
  22. ^ Rutherford (2000, pp. 92–3).
  23. ^ West (1985a, p. 35), Hirschberger (2004, pp. 30–1).
  24. ^ Cat. fr. 43(a); cf. West (1985a, p. 64).
  25. ^ Osborne 2005, p. 6.
  26. ^ West (1985a, p. 44).
  27. ^ West (1985a, pp. 72–6), has shown that much of the remains of book 1 can be assigned to specific sections of the book by virtue of line-numbers preserved in the papyri.
  28. ^ After West (1985a, p. 173). Hellen is a son of Pyrrha and Zeus ( frr. 2–5.; cf. West (1985a, pp. 52, 56)); Graecus, a son of Pandora II, Deucalion's daughter, and Zeus ( fr. 5).; Magnes and Macedon, sons of Thyia, Deucalion's daughter, and Zeus ( fr. 7).; Dorus and Aeolus are sons of Hellen by the nymph Othreis ( fr. 9)., as is Xuthus, who, marrying Creusa, daughter of Erechtheus, sired Achaeus and Ion (fr. 10(a)23 OCT).
  29. ^ West (1985a, pp. 75–6).
  30. ^ West (1985a, p. 76).
  31. ^ Cf. West (2006a, p. 289).
  32. ^ Meliadò 2003; cf. West (2006a, p. 289). One should note that Most (2007, p. 109 n. 17) does not appear to have understood the implications of Meliadò's article and reports that the scholion reads ]ποδου εν τ..γ, not ἀπὸ Ἡ]σίοδου ἐν τῶ<ι> γ as reported by Meliadò. Hirschberger (2004, pp. 25, 456) argues unconvincingly that the Atalanta fragments derive from either the Megalai Ehoiai or another poem; cf. D'Alessio (2005c), West (2006a, p. 289).
  33. ^ These are Cat. frr. 205–245. In West (1985a), Hirschberger (2004) and Most (2007) are offered tentative assignments for many fragments unplaced in Merkelbach & West (1967). There are also a handful of papyrus fragments which derive from the same rolls as securely interpreted fragments, but are so miniscule that their interpretation will be all but impossible until other papyri are found to overlap them. Cat. frr. 79–86 and 88–120 all appear to belong to rolls which preserve the first two books, but many are so small that even the identification of their sources is obscure; cf. Merkelbach (West, p. v).
  34. ^ Cf. Cingano (2005, pp. 128–9).
  35. ^ West (1985a, p. 132).
  36. ^ Cat. fr. 217A OCT, first edited by Renner (1978). Before the publication of the dictionary, some version of the myth appeared to be attributed to the Cat. (called the Ehoiai) by Philodemus (On Piety B 6552–55), but, because of great damage to that text, Merkelbach and West printed it as a doubtful fragment (fr. 346); the Philodemus fragment contains very little more than the name Actaeon and the citation.
  37. ^ The role of Zeus in the myth is not made explicit (or, at least, does not survive) in the papyri, but has been assumed by scholars; cf. Renner (1978, p. 283), Hirschbeger (2004, p. 394).
  38. ^ Lobel (1964, pp. 4–7). This is P.Oxy. XXX 2509, printed as Cat. fr. 103 in Hirschberger (2004) and fr. 162 in Most (2007).
  39. ^ West (1965, p. 22). Twenty years later, West was "still loth to believe" the fragment was Hesiodic (West (1985a, p. 88)). (À propos of Cat. fr. 42, which reports that Chiron married a Naiad, M–W do, however, cite a parallel at P.Oxy. 2509, line 3.)
  40. ^ Most (2007, p. 245 n. 66), without naming names—none of the scholarship cited in the present article mentions this opinion, and Most might here be confusing this papyrus with the passages found in the Bibliotheca discussed below.
  41. ^ On the age of the fragment, see Janko (1984) and Führer (1989); the case is made for its inclusion in the Catalogue" by Casanova (1969a), Janko (1984) and Hirschberger (2004).
  42. ^ West (1985a, p. 127); Hirschberger (2004, p. 42).
  43. ^ Paus. 9.31.4.
  44. ^ Ael. VA 12.36 = Cat. fr. 183; the translation given above is that of Most (2007, p. 195 (his fr. 127)).
  45. ^ Cf. Solmsen 1982. Compare Pausanias 2.26.7=Cat. fr. 50, who says that someone might have inserted into the Catalogue an account of Asclepius' birth which made the healing god a son of Messenian Arsinoe in order to please the Messenians.
  46. ^ West (1985a, p. 127); Apollonius: apud Arg. in Hes. Sc. = Cat. fr. 230; Aristophanes: apud Arg. in Hes. Sc. = cited app. crit. Cat. fr. 195; Crates: schol. Hes. Th. 142 = Cat. fr. 52.
  47. ^ Janko (1982, pp. 85–7).
  48. ^ West (1999, p. 380); cf. West (1985a, pp. 136–7).
  49. ^ Cat. fr. 10(a)20–4, West (1985a, pp. 57–8, 106).
  50. ^ West 1985a, p. 133. Schwartz (1960, pp. 488–9), even posits a connection between the Catalogue of Helen's Suitors and the competition for the hand of Cleisthenes' daughter Agariste.
  51. ^ West (1985a, p. 130), citing himself: West (1966a, pp. 417, 430, 436)
  52. ^ Proposed at West (1985a, p. 136), West (1999, p. 380).
  53. ^ It is considered persuasive, if not certain, by (e.g.) Davies (1988) and Rutherford (2005).
  54. ^ Fowler (1999).
  55. ^ Hirschberger (2004, pp. 48–51). West (1985a, pp. 133–4), does not believe that Stesichorus actually alluded to the Catalogue, but that he alluded to another epic (or epic tradition) which paralleled the content of the Hesiodic poem; the authors who report that Stesichorus engaged with "Hesiod" on these point engaged in inference, according to West. Viewing the Catalogue as a product of a period when writing had already become a widely employed medium, Nasta (2006) also considers the late 7th or early 6th c. to be the likeliest period of composition.
  56. ^ West & 1985a (130).
  57. ^ See, for example, Hunter (2005c), Asquith (2005) and the allusions to the poem collected in West (1969) and West (1986).
  58. ^ Asquith (2005, pp. 280–1), who notes the allusion to the Works and Days passage: νάσσατο δ' ἄγχ' Ἑλικῶνος ὀιζυρῆι ἐνὶ κώμηι | Ἄσκρηι, χεῖμα κακῆι, θέρει ἀργαλέηι, οὐδέ ποτ' ἐσθλῆι, "He [Hesiod's father] settled in a miserable village near Helicon, Ascra, vile in winter, painful in summer, never good."
  59. ^ See Asquith (2005) for reconsideration of the relation between the Catalogue and Hellenistic Kollektivgedichte.
  60. ^ In addition to Catullus' translating a section the Aetia (Carm. 66, the "Coma Berenices"), in Carm. 116 he mentions a desire to send an erstwhile friend the poems of Callimachus in order to soften his attitude toward Catullus (Saepe tibi studioso animo verba ante requirens | carmina uti possem vertere Battiadae, | qui te lenirem nobis, neu conarere | tela infesta meum mittere in usque caput, 116.1–4).
  61. ^ West (1985a, p. 1). The earliest papyrus is P.Lit.Lond. 32 (Cat. fr. 73), which is dated to the early 3rd c. BCE and was found at Gurob near Hawara; the latest is P.Berol. inv. 9777 (frr. 25 & 26), which is assigned to the 4th c. CE.
  62. ^ West (1966a, pp. 51–2); the syllabos belongs to P.Achmîn 3.
  63. ^ Cf. West (1985a, pp. 32, 35, 43–6). The validity of this view has occasionally been questioned (e.g. Heilinger 1983).
  64. ^ The following survey owes much to West (1985a, pp. 31–50).
  65. ^ a b West (1985a, p. 31).
  66. ^ Kirchhoff (1860).
  67. ^ Bergk (1872, p. 1002 n. 83).
  68. ^ Leo (1894).
  69. ^ West (1985a, p. 33), where a list of the papyri published before 1962 can be found in n. 10.

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  • West, M.L. (1983), "The Hesiodic Catalogue: Xouthids and Aiolids", ZPE 53: 33–6 .
  • West, M.L. (1985a), The Hesiodic Catalogue of Women: Its Nature, Structure, and Origins, Oxford, ISBN 0198140347 .
  • West, M.L. (1985b), "The Hesiodic Catalogue: New Light on Apollo’s Love-Life", ZPE 61: 1–7 .
  • West, M.L. (1986), "Further Echoes and Imitations of the Hesiodic Poems", Philologus 130: 1–7 .
  • West, M.L. (1987), "Iaon", ZPE 67: 20 .
  • West, M.L. (1988), "The Rise of the Greek Epic", JHS 108: 151–72 .
  • West, M.L. (1999), "The Invention of Homer", CQ 49: 364–82 .
  • West, M.L. (2001), "Some Homeric Words", Glotta 77: 118–35 .
  • West, M.L. (2006a), "(review of Hirschberger 2004)", Gnomon 79: 289–94 .
  • West, M.L. (2006b), "The Catalogue of Women (review of Hunter 2005a)", CR 56: 275–6 .
  • West, M.L. (2008), "The Hesiod Papyri and the Archaic Epic Language", in Bastianini & Casanova 2008, pp. 29–42 .
  • Ziogas, I. (2011), "Ovid as a Hesiodic Poet: Atalanta in the Catalogue of Women (fr. 72–6 M–W) and the Metamorphoses (10.560–707)", Mnemosyne 64: 249–70 .
  • Zutt, G. (1894), "Über den Katalog der Heroinen in der Nekyia", Beilage zum Programm des grossher-zoglichen Gymnasiums Baden-Baden für das Schuljahr 1893/94, Leipzig .
Extant poems
Fragmentary poems