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All of this lets us better read details elsewhere. In a memorable
sequence of Iliad 3, Helen sees through Aphrodite's disguise as an
old wool-working woman (3.386—388), which in itself may mock
Athena (whose name her darling Paris later will take in vain, 439).
First Helen feels something in her uymÃj, then notices, in order, the
goddess' “very beautiful neck, and desirable breasts, and glistening
eyes" (Ómmata marmaåronta, 397). In the major Hymn Aphrodite
also disguised herself, in that case as a bejeweled Phrygian princess,
so that Anchises might not be stunned if he perceived her in (his)
eyes m0 min tarb0seien ñn Ícualmoìsi no0saj, 83); and later,
just before they go to bed together, she turns aside and casts her
beautiful eyes down (metastrecueìsa kat' Ómmata kal2 balo‡sa,
156).
Returning to No. 6 we recall its mention of the seductive dance
(xorÁj ímeroeåj) of the goddess and her companion Charites (ll.
13—14). We may consequently note a likely irony in the scandalous
myth of her adultery and its exposure in Odyssey 8. The bard
Demodocus' account accompanies a kind of ballet (as we infer if
we connect the dancing of 258—265 with the reported song and the
duet dance with a ball that follows at 370—379). The principal narrative
song-and-dance concludes with a scene reprising Aphrodite
and those companion “Graces". After the divine adulteress' speedy
retreat to the friendly confines of Paphos her charming sisters clean
her up and give her fresh clothing, doing the best they can to efface
her sensational embarrassment (362—366).
Dances in fact are quite common in the Hymns. We find them
not only where we would expect them, in ones to musical Apollo
(No. 3, at l. 149 and probably 158—164) and his equally talented
twin Artemis (No. 27, at ll. 16—20), and to Dionysus (No. 26, ll.
9—10), but also where noisy rites honor the mother gods (Nos. 14,
ll. 3—5, and 30, ll. 13—16). Pan, too, leads dances of high country
nymphs (No. 19, ll. 19—31).
ATHENA (Hymns 11 and 28; also 20 to Hephaestus)
In Hymn No. 11, the first of the two to her, Pallas Athena matter-of-factly
shares jurisdiction over warfare with Ares, whom in the
Iliad she treats with relentless spite, unforgettably so in Books 5
(755—853, and 21 391—415). Addionally, however, she protects (a
gnomic aorist) an armed people going out (to battle) and coming
home (ñrrÿsato laÁn øÃntÀ te nisÃmenÃn te, 4). Homecoming is
thus part of her province, not of her violent brother's, who is in fact
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