← Home
Orphic Hymns · 72 of 138 · tr. Thomas Taylor

Hymn XXXI. PALLAS (part 1)

XXXI. TO PALLAS. A HYMN. ONLY-Begotten, noble race of Jove, Blessed and fierce, who joy'st in caves to rove: 2 p. 157 O, warlike Pallas, whose illustrious kind, Ineffable and effable we find: Magnanimous and fam'd, the rocky height, 5 And groves, and shady mountains thee delight: In arms rejoicing, who with Furies dire And wild, the souls of mortals dost inspire. Gymnastic virgin of terrific mind, Dire Gorgons bane, unmarried, blessed, kind: 10 Mother of arts, imperious; understood, Rage to the wicked., wisdom to the good: Female and male, the arts of war are thine, Fanatic, much-form'd dragoness, divine: 14 O'er the Phlegrean giants rous'd to ire, 15 15 Thy coursers driving, with destruction dire. p. 158 Sprung from the head of Jove, of splendid mien, Purger of evils, all-victorious queen. p. 159 Hear me, O Goddess, when to thee I pray, With supplicating voice both night and day, 20 p. 160 And in my latest hour, peace and health, Propitious times, and necessary wealth, And, ever present, be thy vot'ries aid, O, much implor'd, art's parent, blue eyed maid. Footnotes 156:2 XXXI. Ver. 2.] Who joy'st in caves to rove . Proclus, in Plat. Theol, P. 372. informs us, that there are three zoogonic or vivific p. 157 monads, Diana, Proserpine, and Minerva; and that these three divinities exist together. Hence the reason is obvious why this Goddess is celebrated as living in caves, and delighting in rocks and mountains, from her agreement with Diana: and hence is appears, that Rutikenius was mistaken in imagining these epithets were misplaced. We may likewise see the reason from hence, why Minerva is called, in line 14, Female and Male, as well as the Moon; and why the Moon is called in the Hymn to her πάνσοφε κύρη, i. e. "all-wife virgin." 157:14 Ver. 14.] Much-form'd dragoness . It is easy to perceive the agreement between Minerva, who is the same with divine Wisdom and Providence, and a Dragon; since according to Phurnutus, a dragon is of a vigilant and guardian nature. 157:15 Ver. 15.] O'er the Phlegrean giants , &c. The fable of the giants is common; but its philosophical explanation is, I fear, but little known and less understood. For the sake of thc liberal, therefore, the following account of the battles of the Gods, p. 158 from the excellent Commentary of Proclus, on Plato's Republic, p. 373, is inserted. "The divisible progressions of all beings, and the diversities of substances, receive a supernal origin, from a division of unknown primitive causes, which are mutually at strife with principles, subject to the universe. For some determine their essence about unity, on which they depend; and others receive in themselves a never-failing power of infinity, by which they generate universals, and a cause of multitude and progression, according to which they possess their peculiar essences. Hence, after the same manner as the first principles of beings, are mutually separated from each other; so all divine genera and true beings have among themselves a progression distinguished by order. In consequence of this, some insert in things posterior the principle cause of unity; but others afford the power of separation.
Themes
Apophatic Theologytheology

Describing the divine only by negation—God transcends all positive categories and concepts; the via negativa.

The hymn describes the Goddess as 'Ineffable and effable', acknowledging limits to human language regarding the divine.

All passages →
Divine Providencetheology

Pronoia — the doctrine that the divine actively orders the unfolding of the cosmos and human affairs toward intelligible ends, against pure chance or blind necessity.

The footnotes explicitly identify Minerva with 'divine Wisdom and Providence' in the philosophical explanation.

All passages →
Monadcosmology

The absolutely simple, undivided first principle from which all multiplicity and existence flows.

The footnotes explicitly reference 'three zoogonic or vivific monads' including Minerva, defining her as a fundamental divine principle.

All passages →
Theurgypraxis

Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.

Orphic Hymns are inherently theurgical texts intended to invoke divine presence, supported by Proclus's commentary on ritual and philosophical practice.

All passages →
Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

[auto] The divine beings are described with human physical characteristics such as dancing feet, bosoms, and treading.

All passages →
Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

[auto] The deities are addressed as active, responsive entities capable of attending to words and defending life.

All passages →
Prayerpraxis

Direct address to the divine, whether petitionary, contemplative, or liturgical; speech and silence offered upward.

[auto] The entire text is structured as a hymn of invocation and supplication, explicitly stating 'Hear me, O Goddess, when to thee I pray'.

All passages →
Sacred Namestheology

Divine names or formulas that carry ontological power, used in prayer, liturgy, or magical practice.

[auto] The hymn functions as a liturgical invocation using the name and attributes of the Curetes to elicit divine action.

All passages →
Related passages · 3 parallels
norse|The Poetic Edda: Voluspo|Section 1i
On all sides saw I | Valkyries assemble, Ready to ride | to the ranks of the gods; Skuld bore the shield, | and Skogul rode next, Guth, Hild, Gondul, | and Geirskogul. Of Herjan's maidens | the list have ye heard, Valkyries ready | to ride…”
Both passages describe warrior goddesses who play significant roles in their respective mythologies. Pallas (Minerva) in the Orphic Hymns and the Valkyries in Norse mythology are depicted as fierce, divine figures associated with war and the afterlife, guiding or inspiring the souls of mortals.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|Fourth Dialoguea
. Tansillo . Thus is described the discourse of heroic love, in all which tends to its own object, which is the highest good; and heroic intellect, which devotes itself to the study of its own object, which is the primal verity, or absolu…”
Both passages explore the pursuit of divine wisdom and the transformation of the seeker through this pursuit. They use allegorical and mythological language to describe the intellect's journey towards understanding higher truths.
western_esoteric|Transcendental Magic II: The Ritual (Éliphas Lévi)|22. The Book Of Hermesk
The second beast, emblem of the northern conquerors, who reigned by iron during the second age, was like unto a bear; it had three rows of sharp teeth, images of three great conquering families, and they said unto it: Arise, devour much fle…”
Both passages discuss the interpretation of sacred texts and the use of allegory to convey deeper truths. They share a conceptual parallel in exploring the symbolic and allegorical nature of religious and mystical language.