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Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019 DOI: 10.1093/oso/9780198777342.001.0001
Title Pages
John F. Miller, Jenny Strauss Clay
(p.i) Tracking Hermes, Pursuing Mercury (p.ii) (p.iii) Tracking Hermes, Pursuing Mercury (p.iv) Copyright Page
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Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019
DOI: 10.1093/oso/9780198777342.001.0001
(p.v) Acknowledgements
John F. Miller, Jenny Strauss Clay
After discussing the project of a collaborative interdisciplinary approach to Hermes and Mercury for many years, we were fortunate finally to bring together a group of scholars for the conference ‘Tracking Hermes/Mercury’ at the University of Virginia in March of 2014. The papers delivered at that symposium form the basis of the present volume. We are grateful in the first instance for the funding that made the conference possible—from the Dean of the College of Arts and Sciences, the Ancient History Fund, the McIntire Department of Art, and the Department of Classics—to the Classics staff, Shelly Rojas and Glenda Notman, for making arrangements and going well beyond the call of duty during the conference; to our graduate students and colleagues for so generously helping to host visitors for the event. For chairing sessions and other intellectual contributions to the symposium we are particularly grateful to Anna Stelow, Tyler Jo Smith, Kelly Shannon, Jon Mikalson, Gregory Hays, Coulter George, John Dobbins, Jane Crawford, Stéphanie Paul, Deborah Boedeker, and Shane Black.
Many have assisted in bringing this book to fruition. Anonymous referees at two stages helped with shaping the volume and with many other useful suggestions. At Oxford University Press, Charlotte Loveridge encouraged the project from the start and saw us through the initial stages; Georgina Leighton expertly and patiently stewarded the book to publication. Our two editorial assistants, Megan Bowen and Matthew Pincus, helped mightily with preparation of the copy. Above all, we thank the contributors to the volume for their stimulating scholarship and their collegial spirit.
John F. Miller, Jenny Strauss Clay (p.vi)
Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019
DOI: 10.1093/oso/9780198777342.001.0001
(p.xi) List of Figures
John F. Miller, Jenny Strauss Clay
2.1.Athenian black-figure hydria. Hermes and Maia. c.520 BCE. Paris, Petit Palais 310.14
Photo © Petit Palais/Roger-Viollet.
2.2.Detail of the hydria in Fig. 2.1: lion.16
Photo © Petit Palais/Roger-Viollet.
2.3.Detail of the hydria in Fig. 2.1: goat.17
Photo © Petit Palais/Roger-Viollet.
2.4.Athenian black-figure lekythos. Chariot of Apollo, with Hermes. c.500
BCE. Yale University Art Gallery 1913.111.18
Photo: Museum, courtesy of Susan B. Matheson.
2.5.View of the lekythos in Fig. 2.4: Maia (?).19
Photo: Museum, courtesy of Susan B. Matheson.
2.6.Athenian black-figure neck-amphora. Apollo between Dionysos/ Thyone and Hermes/Maia. c.520 BCE. San Simeon, Hearst Castle inv. 5563.20
Photo by Victoria Garagliano/© Hearst Castle®/CA State Parks.
2.7.Athenian red-figure amphora. Detail of Hermes and Maia. c.510 BCE. Munich, Antikensammlungen 2304.23
After Knauss (2012) 166. By permission of the Staatliche Antikensammlungen und Glyptothek, Munich.
2.8.Athenian black-figure volute-krater (“François Vase”). Detail of chariot of Hermes and Maia, with the Moirai. c.570 BCE. Florence, Museo Nazionale Archaeologico 4209.25
Photo courtesy of the National Archaeological Museum of Florence.
3.1.Votive relief dedicated to the Nymphs, from the Cave to the Nymphs (Vari Cave) on Mount Hymettos, white marble, 52 × 36 cm, 340–330 BCE. Athens, National Archaeological Museum, NM 2011.32
Source: DAI. Photographer: Hermann Wagner. DAI-Neg.-No.: D-DAI-ATHNM 4419.
3.2.Votive relief dedicated to the Nymphs by Eukleides, Eukles, and Lakrates, from the Cave to the Nymphs (Vari Cave) on Mount Hymettos, white marble, 40 × 50 cm, 340–330 BCE. Athens, National Archaeological Museum, NM 2008.35
Source: DAI. Photographer: Elmar Gehnen. DAI-Neg.-No.: D-DAIATH-1995/2197.
3.3.Ithyphallic herm, of Attic manufacture but found on Siphnos, marble, 66 × 13 cm, c.520 BCE. Athens, National Archaeological Museum, NM 3728.36
Photo: Bridgeman-Giraudon/Art Resource, NY.
(p.xii) 3.4.Votive relief dedicated to the Nymphs, found on the Quirinal Hill in Rome, marble, 175 × 85 cm, c.400–390 BCE. Berlin, Antikensammlung, SK 709 a.41
Photo: bpk Berlin/Antikensammlung/Jürgen Liepe/Art Resource, NY.
3.5.Votive relief dedicated to Pan and the Nymphs by Telephanes, from the Cave of Pan on Mount Parnes, white marble, 43 × 47 cm, 310–290
BCE. Athens, National Archaeological Museum, NM 1448.42
National Archaeological Museum, Athens. © Hellenic Ministry of Culture and Sports/Archaeological Receipts Fund.
3.6.Votive relief dedicated to the Nymphs by Telephanes, Nikeratos, and Demophilos, found in the Cave of Pan and the Nymphs on Mount Penteli, white marble, 53 × 75 cm, 360–350 BCE. Athens, National Archaeological Museum, NM 4465, 4465a.45
Source: DAI. Photographer: Eva-Maria Czakó. DAI-Neg.-No.: D-DAI-ATHNM 4756.
4.1.East pediment of the Siphnian Treasury, detail.53
Photo: Erich Lessing/Art Resource, NY.
4.2.Orientalizing vase from Megara Hyblaea.54
Musée du Louvre, Paris, France. Photo: Tony Querrec.© RMN-Grand Palais/Art Resource, NY.
4.3.Apollo and Heracles on the Boston Pyxis.56
Photo © 2018 Museum of Fine Arts, Boston.
4.4.Comparison of the “Theft from Apollo” theme in myths of Hermes and Heracles.59
13.1.The lararium at the end of the counter of the thermopolium at i.8.8, Pompeii. Mercury is the far left of the five deities in the image.198
Photo: Erich Lessing/Art Resource, NY.
13.2.The left doorpost of the taberna (“the taberna of Marcus Vecilius Verecundus”) at ix.7.7, Pompeii. Mercury steps right from a small temple. 202
Photo: Alinari/Art Resource, NY.
13.3.A painted image to the right of the door of the taberna at ix.12.6, Pompeii. An ithyphallic Mercury runs left towards the entrance.204 Museo Archeologico Nazionale. © Vanni Archive/Art Resource, NY.
14.1.Scene from the Tabula Iliaca. Musei Capitolini, Rome.218
Source: DAI. Photographer: R. Sansaini. DAI-Neg.-No.: D-DAI–Rom 57.974.
14.2.Scene from the Tabula Iliaca. Musei Capitolini, Rome.219
Source: DAI. Photographer: R. Sansaini. DAI-Neg.-No.: D-DAI–Rom 57.975.
15.1.Attic black-figure column-krater, 520–510 BCE. London, British Museum B362.230
Photo: © Trustees of the British Museum.
(p.xiii) 15.2.Attic black-figure lekythos, c.480 BCE. Louvain-la-Neuve, Musée universitaire AC118.231
Photo: Jean-Pierre Bougnet © UCL-Musée de Louvain-la-Neuve.
15.3.Attic red-figure column-krater, Orchard Painter, 470–460 BCE. Naples, Museo Archeologico Nazionale 81295 (H3369).232
Photo reproduced by permission of the Ministero dei Beni e delle Attività Culturali e del Turismo – Museo Archeologico di Napoli.
15.4.Attic black-figure amphora, 500–480 BCE. Würzburg, Martin von Wagner Museum 233.233
© Martin von Wagner Museum der Universität Würzburg, photo: P. Neckermann, respectively E. Oehrlein.
15.5.Attic black-figure olpe, Dot-Ivy Group, 500–490 BCE. Paris, Musée du Louvre F325.234
Photo: © RMN-Grand Palais (Musée du Louvre)/Stéphane Maréchalle.
15.6.Attic red-figure pelike, Geras Painter, c.490 BCE. Paris, Bibliothèque nationale de France 397.235
Photo: Serge Oboukhoff © BnF–CNRS–Maison Archéologie & Ethnologie, René Ginouvès.
15.7.Attic red-figure lekythos, Icarus Painter, 470–460 BCE. Nicholson Museum, The University of Sydney. NM51.14.236
Photo: Nicholson Museum, The University of Sydney.
15.8.Attic red-figure cup, Ambrosios Painter, 510–500 BCE. London, Sotheby’s 14.12.1995, no. 84.238
Photo after Sotheby’s, London, sale catalogue (14.12.1995): 45, no. 84.
17.1.Samothracian herm.275
Illustration by David Diener, after photo published by Charles Champoiseau, “Note sur des antiquités trouvés dans l’île de Samothrace,” Comptes rendus des séances de l’Académie des Inscriptions et BellesLettres, 36e année, N. 1, 1892: 24. ©Académie des inscriptions et BellesLettres, used by kind permission.
17.2.Samothracian herm, published by Fernand Chapouthier, Les Dioscures au service d’une déesse, E. de Boccard 1935: 176, figure 16. 276
© Editions de Boccard, used by kind permission.
17.3.Detail, silver cantharos from the Berthouville treasure, mid-first century CE.278
Photo: Tahnee Cracchiola, courtesy Département des Monnaies, médailles et antiques, Bibliothèque nationale de France. Height 15.8 cm, Diameter 13.3 cm, Weight 852 grams. Paris, BnF, 56.9.
17.4.Silver cantharos from the Berthouville treasure, mid-first century CE.279
Photo: Tahnee Cracchiola, courtesy Département des Monnaies, médailles et antiques, Bibliothèque nationale de France. Height 15.8 cm, Diameter 13.3 cm, Weight 852 grams. Paris, BnF, 56.9. (p.xiv) 17.5.Detail, silver cantharos from the Berthouville treasure, midfirst century CE.280
Photo: Tahnee Cracchiola, courtesy Département des Monnaies, médailles et antiques, Bibliothèque nationale de France. Height 16 cm, Diameter 14.6 cm, Weight 835 grams. Paris, BnF, 56.8.
17.6.Silver cantharos from the Berthouville treasure, mid-first century CE.281
Photo: Tahnee Cracchiola, courtesy Département des Monnaies, médailles et antiques, Bibliothèque nationale de France. Height 16 cm, Diameter 14.6 cm, Weight 835 grams. Paris, BnF, 56.8.
17.7.Drachm of Ainos with head of Hermes. Greek, late classical period, about 357–342/1 BCE; Ainos mint, Thrace; silver. 19 mm dia., weight 3.99
gm. Die Axis: 12. Museum of Fine Arts, Boston. Theodora Wilbour Fund in memory of Zoë Wilbour, 61.1189.286
Photo © 2018 Museum of Fine Arts, Boston.
Whilst every effort has been made to secure permission to reproduce the illustrations, we may have failed in a few cases to trace the copyright holders. If contacted, the publisher will be pleased to rectify any omissions at the earliest opportunity.
Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019
DOI: 10.1093/oso/9780198777342.001.0001
(p.xv) List of Abbreviations
John F. Miller, Jenny Strauss Clay
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BAPD
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BdI
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BE
Bulletin épigraphique. Paris.
(p.xvi)
BICS
Bulletin of the Institute of Classical Studies of the University of London
BIFAO
Bulletin de l’Institut français d’archéologie orientale de Caire
BNJ
Brill’s New Jacoby
BNP
Brill’s New Pauly
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Book of the Dead: for the quoted chapters, found in the papyrus of Ani, see C. Carrier, Le Livre des morts de l’Égypte ancienne. Paris 2009.
BPEC
Bollettino del comitato per la preparazione dell’edizione nazionale dei classici greci e latini
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Classical Quarterly
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Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019
DOI: 10.1093/oso/9780198777342.001.0001
(p.xxiii) List of Contributors
John F. Miller, Jenny Strauss Clay
Simone Beta, Associate Professor of Classical Philology at the University of Siena.
Thomas Biggs, Assistant Professor of Classics at the University of Georgia.
Sandra Blakely, Associate Professor of Classics at Emory University. Ljuba Merlina Bortolani, Akademische Mitarbeiterin at Heidelberg University.
Andrea Capra, Associate Professor (Reader) of Classics at Durham University.
Sergio Casali, Associate Professor at the University of Rome ‘Tor Vergata.’
Jenny Strauss Clay, William R. Kenan Professor of Classics Emerita at the University of Virginia.
Hélène Collard, Postdoctoral Researcher F.R.S.–FNRS (Belgian National Fund of Research) at the University of Liège.
Joseph Farrell, Professor of Classical Studies and Mark K. and Esther W. Watkins Professor in the Humanities at the University of Pennsylvania.
S. J. Harrison, Professor of Latin Literature and Fellow and Tutor in Classics at Corpus Christi College, University of Oxford.
Carolyn M. Laferrière, Postdoctoral Associate in Ancient and Premodern Cultures and Civilizations, with ARCHAIA, at Yale University.
Jennifer Larson, Professor of Classics at Kent State University.
Duncan E. MacRae, Assistant Professor of Classics at the University of California, Berkeley.
John F. Miller, Arthur F. and Marian W. Stocker Professor of Classics at the University of Virginia.
Erin K. Moodie, Assistant Professor of Classics at Purdue University.
Micah Young Myers, Assistant Professor of Classics at Kenyon College.
Cecilia Nobili, Research Fellow at the University of Milan.
Nicola Reggiani, Ricercatore di Papirologia at the University di Parma.
(p.xxiv) H. A. Shapiro, W. H. Collins Vickers Professor of Archaeology Emeritus at Johns Hopkins University.
Athanassios Vergados, Reader in Greek at Newcastle University.
Henk Versnel, Professor of Ancient History Emeritus at Leiden University.
Jenny Wallensten, Director of the Swedish Institute at Athens.
Tracking Hermes, Pursuing Mercury
John F. Miller and Jenny Strauss Clay
Print publication date: 2019
Print ISBN-13: 9780198777342
Published to Oxford Scholarship Online: March 2019
DOI: 10.1093/oso/9780198777342.001.0001
Introduction
Jenny Strauss Clay
John F. Miller
DOI:10.1093/oso/9780198777342.003.0001
Abstract and Keywords
This chapter positions the book within the larger discussion of Hermes and Mercury in previous scholarship, and surveys the contributions in the volume against the background of the Homeric Hymn to Hermes. The volume brings together a wide range of disciplines, including Greek and Roman literature, epigraphy, cult and religion, vase painting and sculpture. The book tracks Hermes from the naughty babe in his cradle to awesome kosmokrator, from shadowy Cyllene to Hellenized Egypt and Augustan Rome, and traces continuities that cross generic and temporal boundaries, but also transformations of the wayward god, who easily adjusts to new settings and morphs into Mercury and Thoth.
Keywords: Hermes,Mercury,Homeric Hymn,thief,child
The present volume grew out of a conference, “Tracking Hermes/Mercury,” held at the University of Virginia in the Spring of 2014. It consists of twenty original contributions, and brings together a wide range of disciplines, including Greek and Roman literature (epic, lyric, and drama), epigraphy, cult and religion, vase painting, and sculpture. Such an interdisciplinary approach is not only appropriate, but essential in investigating such a multi-faceted and elusive character. Moreover, in dealing with this patron divinity of exchange, commerce, and dialogue, we hope ourselves to encourage dialogue between Latinists and Hellenists as well as scholars of literary and material cultures. Pursuing this elusive divinity requires multiple skills and multiple approaches.
Of all the divinities of classical antiquity, the Greek Hermes (Mercury in his Roman alter ego) is the most versatile, enigmatic, complex, and ambiguous. The runt of the Olympian litter, he is the god of lies and tricks, yet is also kindly to mankind and a bringer of luck; his functions embrace both the marking of boundaries and their transgression, as well as commerce, lucre and theft, rhetoric, and practical jokes; he also plays the role of mediator between all realms of human and divine activity, embracing heaven, earth, and the Netherworld. His assimilation to the Egyptian Thoth and Hermes Trismegistus, the diffusion of his cult beyond Greece and Rome, and his role in late antique and medieval allegory demonstrate how his multifarious aspects continuously evolved and changed in different periods and environments. While we do not pretend to cover exhaustively the myriad aspects of Hermes/Mercury—origins, patronage of the gymnasium, relation to the other trickster figures— nevertheless, we hope at least to track the god’s footprints in many domains that reflect his variegated nature.
Despite his appeal and iconic presence in marketing everything from flowers to silk scarves, the figure of Hermes/Mercury has been understudied, although recent work—including commentaries on the Homeric Hymn to Hermes by A. Vergados (2012) and N. Richardson (2010), as well as D. Jaillard’s study (p.2) (Configurations d’Hermès. Une ‘théogonie hermaïque, ’ 2007), Chapter4in H. Versnel’s Coping with the Gods (2011), and Jenny Strauss Clay’s chapter on the Homeric Hymn to Hermes in Politics of Olympus: Gods and Men in the Major Homeric Hymns (1989)—has focused attention on this many-faceted figure. Older studies on disparate aspects of the god include N. O. Brown, Hermes the Thief (1947), L. Kahn’s structuralist interpretation (Hermès passe, 1978), P. Zanker (1965) on iconography, and B. Combet Farnoux, Mercure romain (1980), as well as individual articles on specific manifestations of the god—e.g. as an avatar of Augustus (P. A. Miller1991). But up to now there has been no attempt to discuss in a coherent manner the surprising variety of his literary, cultic, and artistic manifestations. Our volume is a beginning and, in bringing together scholars with varied approaches from different disciplines, it will, we hope, offer a model for future investigations.
Here we preview the volume by pinpointing some important aspects of Hermes and Mercury as suggested by our nine groupings of papers that organize the book. In doing so, for the most part we use the Homeric Hymn to Hermes as a touchstone text, undoubtedly the most sustained—and comic—presentation of this complex and endlessly fascinating figure whom we will pursue in his many manifestations. Our aim is to invite consideration of how the papers in each cluster are, so to speak, in dialogue with one another against the background of the god’s manifold dimensions as adumbrated in the Hymn. Along the way, other connections among the chapters will emerge.
The Homeric Hymn begins from Hermes’ birth in a shadowy cave on remote Cyllene, fruit of Zeus’ secret affair with the nymph Maia (13–16):
And then she bore a child, polytropic, with deceptive cunning, A thief, cattle rustler, leader of dreams, A nocturnal spy, lurking at gates, who soon was going to Reveal famous deeds among the immortal gods.
Mention of the god’s parentage here is more than the usual opening hymnic gambit, for Maia and Zeus are the chief characters in the featured story, along with Hermes’ older brother Apollo. This narrative is very much a family affair.
The infant divinity’s ultimate goal is, from his lowly beginning in that Arcadian cave, to reclaim his patrimony and to be acknowledged as a child of Zeus, worthy of joining the august company of the gods on Olympus and acquiring the prerogatives appropriate to his status. His mother figures importantly in an intimate scene where she upbraids the truant for his nocturnal mischief and he in turn responds by boldly announcing that his behavior aims to improve (p.3) conditions for them both. Foremost among the precocious deity’s “famous deeds” on the day of his birth is the theft of Apollo’s cattle, which precipitates the Hymn’s crisis, only finally resolved by Zeus, as both the ruling arbiter of Olympus and the boys’ father. He orders his two “beautiful children” (397) to settle their dispute, and in the end, once the two are reconciled, “lord Apollo showed his love for the son of Maia with every sort of affection, and the son of Kronos added his favor.”
The papers in PartIreflect and expand upon these familial relationships. The Hymn’s sympathetic portrayal of Maia—otherwise an obscure figure in ancient literature and art—forms the background for H. A. Shapiro’s reading of Hermes’ mother on ancient vases, where the company of Hermes helps to identify her. He pours a libation in her presence, no doubt as a preliminary to leaving home, and his beardless condition marks him out as young. The animals in such scenes, recalling the sphere of influence granted to Hermes at the end of the Hymn (569–71), Shapiro suggests may derive from an association with Maia as resident of rustic Arcadia. Elsewhere Apollo plays the cithara for his brother Hermes while the woman holding his signature kerykeion must be his mother. Hermes’ stately demeanor in escorting his mother to the wedding of Peleus and Thetis on the François Vase is sharply at variance with the mischievous child of the Homeric Hymn, as is the presence of Maia at such a high-profile event among the major divinities—in the Hymn she shuns the company of the blessed gods, staying in the dark cave where she and Zeus made love (5–7).
The Hymn’s central conflict, arising from Hermes’ theft of Apollo’s cattle, Jennifer Larson insightfully maps onto the myth of Heracles attempting to wrest away Apollo’s tripod. These two younger sons of Zeus only gradually gain acknowledgement as Olympian divinities, after each challenges his older sibling Apollo by trying to steal from him, and their confrontation is eventually mediated by Zeus. In both cases the younger brother must restore the stolen property, reconcile with his fraternal adversary, and continue in a subordinate rank to Apollo. Larson concludes that this remarkable nexus of similarities (among other things) suggests that the composer of the Hymn to Hermes was reacting to the myth of Heracles and Apollo’s tripod.
Hermes as the father of Pan is examined by Carolyn Laferrière in the context of late classical reliefs dedicated to Pan and the Nymphs. In the Homeric Hymn to Pan the nymphs who dance in Pan’s company sing a song in honor of his father Hermes, which depicts Hermes’ legitimizing presentation of the goatish son to his fellow immortals. Against such a horizon of expectation, viewers would comprehend the visual theology of the Attic reliefs, in particular the connection of both Hermes and Pan with the cult of the Nymphs and how both father and son serve as mediators between mortal worshippers and the Nymphs. The otherwise surprising appearance of Hermes in the reliefs thus makes perfect sense.
(p.4) Hermes’ role as a trickster figure at the heart of the Homeric Hymn is well represented in the two papers in PartII. The god’s polytropic nature, his thievish character and interest in profit, seductive rhetoric, and inventiveness are already on display in Homer. Likewise, his philanthropic side as well as his all too human concern with eating and other bodily functions find a place in his Homeric appearances. Jenny Strauss Clay first analyzes Hermes’ role in the Iliad, especially Priam’s encounter with the god in Book 24. Like a psychopomp, he escorts the old king through the Trojan no-man’s-land to Achilles’ encampment, thus demonstrating his ability to cross boundaries and penetrate forbidden territory, as he does in his Hymn, as well as his inclination for nocturnal adventures. But the bulk of her paper explores the affinities between Hermes and Odysseus in the Odyssey; both the god and the hero share the epithet polytropos, and Odysseus resembles his patron in his craftiness, whether in making his raft or tricking the Cyclops, as well as in his deceptive speech that charms his listeners. The interest Hermes shows for meat in the Hymn finds a correspondence in Odysseus’ devotion to his belly; both of them, moreover, are bent on profit. And if the hymnic Hermes manages to smuggle his way into Olympus, his avatar Odysseus smuggles his way into the affections of the Phaeacians and achieves his more terrestrial nostos.
The contribution by Andrea Capra and Cecilia Nobili also exploits the Homeric Hymn to document an archaeology of iambus and Hermes as its first practitioner. The various songs Hermes sings in the course of the Hymn and the
allusions to their sympotic setting provide archetypes of what will become the iambic genre with its competitive, provocative, humorous, and sometimes erotic character. The pleasure and charm of Hermes’ performances correspond to the desired features of sympotic poetry, as does his playful banter and occasional scurrilous behavior. The poet Hipponax constructs his iambic persona as an intimate and almost as an embodiment of Hermes’ traits; the poet’s prayer to the god with its jocular word play incorporates a Hermetic interest in cloaks and gain. Combining high and low and sometimes using parodic language, the iambist seems to imitate Hermes’ own range, which extends from self-serving theogony to youthful exchanges of insult. When Hipponax is reborn in his Callimachean guise, he has shed his more obstreperous Hermetic features. As Capra and Nobili note, the decline of iambus coincides with the eclipse of Old Comedy.
Their observations lead into the next part (III), which focuses on the role of Hermes in comedy, where he exhibits many of the features of the iambic Hermes as well as those that he enacts in the Homeric Hymn. In outlining the varied manifestations of Hermes in Old Comedy, Simone Beta attests to the continuities in his presentation on the comic stage, both as a character in the plot and, intriguingly, in his possible role as a talking statue, the Herms that dotted the Athenian landscape and were familiar to the audience in the theater (p.5) of Dionysus. The well-known traits of the god are on display even in some of our more fragmentary texts: his lowly status among the Olympians, his role as doorkeeper and glutton, god of luck and thievery, of verbal tricks and mediation, as well as his earthier features on view in his images. Prominent in Aristophanes’ Peace, Hermes plays the doorman of Olympus, easily bribed by the offer of meat, and hence the crucial mediator between heaven and earth in liberating imprisoned Peace (Hermes the body-snatcher!) to dwell among mankind. In Wealth Hermes, who himself is often enough considered a giver of wealth and prosperity, is literally brought down to earth by the distress of the Olympian gods and his own hunger when Plutos regains his sight and therefore ceases to act capriciously. Intriguingly, Beta explores the various possibilities of staging Herms in comedy, where on occasion they seem to play a comic oracular role, perhaps to be connected with the god’s relation to the Bee oracle in the Homeric Hymn.
In the following contribution, Erin K. Moodie extends the discussion of comedy to the Roman Mercury and gives special emphasis to the metatheatrical character of the god on both the Greek and the Roman comic stage. Again, we encounter the god’s lowly pose and mercenary character, especially in his adoption of the character of the servus deorum in the both Old and New Comedy. Additional complexity and humor arise from his disguised role as the clever slave in the Amphitryon, who acts as go-between for his master, Jupiter, and which plays upon multiple conventions of Roman comedy. By addressing the audience directly and shattering theatrical illusion and conventions in various
