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The Homeric Hymns have by no means been ignored in scholarship in the past century, but a collection of interpretative essays, which treats each of the long narrative Hymns individually and also gives attention to the corpus as a whole, is a desideratum (as expressed to me by several colleagues) that has until now never been realized. I decided to pursue this project in earnest during a short sojourn in Lyon, France, in June of 2008, after much stimulating conversation with the participants in a conference on Greek hymns organized by Richard Bouchon, Pascale Brillet‐Dubois, and Nadine Le Meur‐Weissman. This confirmed in my mind the timeliness of the present volume, whose contents reflect a wealth of important scholarship on the Homeric Hymns in the past twenty‐five years and give voice to the extremely valuable work currently being undertaken on these poems.
I am of course enormously grateful to all of the contributors, who have supported this volume from the time I first wrote to suggest it in the summer of 2008 and generously agreed to write original essays expressly for inclusion here. Throughout the past two years, they have all patiently dealt with my requests and queries, and delivered work to me in a timely fashion despite extremely busy schedules. I have learned a great deal from them all. I owe particular thanks to a number of individuals. Nicholas Richardson, who has taught me an incalculable amount about the Hymns (and much else as well) since I went to Oxford in 2001 to begin my doctoral studies under his supervision, kindly read my introduction and essay on reception and offered many valuable comments and criticisms. William Furley and Oliver Thomas also read my essay with care and offered insightful suggestions for improvement. Athanassios Vergados, Cecelia Nobili, and Ivana Petrovic kindly shared with me work either forthcoming or in progress. Megan Campbell gave me useful feedback on aspects of the introduction and Andrea Barrales‐Hall efficiently double‐checked references. I am indebted to Joy Mellor, whose keen eye as a copyeditor saved me from a number of errors. I would also like to thank my colleagues at the University of Waterloo for their indefatigable encouragement; of these, Craig Hardiman kindly advised me on several matters of art history. As ever, I am grateful for the support and patience of my wife Kate Timmers, who deserves a laudatory hymn of her own. Finally, I would like to thank the Delegates of Oxford University Press for undertaking to publish this book and all those at the Press who have helped to see it to completion, in particular Hilary O'Shea, Dorothy McCarthy, Jenny Wagstaffe, Emma Barber, and Kathleen Fearn; the anonymous referees for the Press also offered much helpful advice and encouragement.
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