Hesiod, Homeric Hymns, and Homerica
The Contest of Homer and Hesiod
The Divination by Birds (fragments)
The Precepts of Chiron (fragments)
The Idaean Dactyls (fragments)
The Catalogues of Women and Eoiae (fragments)
The Shield of Heracles (480 lines)
The Marriage of Ceyx (fragments)
Works Attributed to Homer The Homeric Hymns
XIV. To the Mother of the Gods (6 lines)
XV. To Heracles the Lion-Hearted (9 lines)
XVII. To the Dioscuri (5 lines)
XXIII. To the Son of Cronos, Most High (4 lines)
XXV. To the Muses and Apollo (7 lines)
XXX. To Earth the Mother of All (19 lines)
XXXIII. To the Dioscuri (19 lines)
The War of the Titans (fragments)
The Story of Oedipus (fragments)
Non-Cyclic Poems Attributed to Homer
The Expedition of Amphiaraus (fragments)
The Taking of Oechalia (fragments)
The Battle of Frogs and Mice (303 lines)
Of the Origin of Homer and Hesiod, and of their Contest (aka The Contest of Homer and Hesiod)
How did the continental school of epic poetry arise? There is little definite material for an answer to this question, but the probability is that there were at least three contributory causes. First, it is likely that before the rise of the Ionian epos there existed in Boeotia a purely popular and indigenous poetry of a crude form: it comprised, we may suppose, versified proverbs and precepts relating to life in general, agricultural maxims, weather-lore, and the like. In this sense the Boeotian poetry may be taken to have its germ in maxims similar to our English
'Till May be out, ne'er cast a clout,'
or
'A rainbow in the morning Is the Shepherd's warning.'
Secondly and thirdly we may ascribe the rise of the new epic to the nature of the Boeotian people and, as already remarked, to a spirit of revolt against the old epic. The Boeotians, people of the class of which Hesiod represents himself to be the type, were essentially unromantic; their daily needs marked the general limit of their ideals, and, as a class, they cared little for works of fancy, for pathos, or for fine thought as such. To a people of this nature the Homeric epos would be inacceptable, and the post-Homeric epic, with its conventional atmosphere, its trite and hackneyed diction, and its insincere sentiment, would be anathema. We can imagine, therefore, that among such folk a settler, of Aeolic origin like Hesiod, who clearly was well acquainted with the Ionian epos, would naturally see that the only outlet for his gifts lay in applying epic poetry to new themes acceptable to his hearers.
Though the poems of the Boeotian school 1 were unanimously assigned to Hesiod down to the age of Alexandrian criticism, they were clearly neither the work of one man nor even of one period: some, doubtless, were fraudulently fathered on him in order to gain currency; but it is probable that most came to be regarded as his partly because of their general character, and partly because the names of their real authors were lost. One fact in this attribution is remarkable - the veneration paid to Hesiod.
1 The extant collection of three poems, "Works and Days", "Theogony", and "Shield of Heracles", which alone have come down to us complete, dates at least from the 4th century A.D.: the title of the Paris Papyrus (Bibl. Nat. Suppl. Gr. 1099) names only these three works.