Wolfgang Hübner

HERMES ALS MUSISCHER GOTT

Die moderne Theoriediskussion, die sich mit der Dichtung befaßt, hat in der Antike naturgemäß zunächst bei Reflexionen von Dichtern des Hellenismus und der frühen römischen Kaiserzeit, also einer bereits hoch entwickelten Poetik, angesetzt. Man hat dann aber die Theorieerwartung auch an die archaische Dichtung herangetragen und nach poetologischen Aussagen in der frühgriechischen Epik gefragt, und da mußte das Proömium der hesiodischen Theogonie eine besondere Anziehungskraft ausüben. Dort sagen die Musen (Hes. Th. 27f.):

Teukros im Spätmittelalter

Chapter 25 of the LatinLiber Hermetis, dating from about the twelfth century, but depending on a Greek model of the ninth or tenth century, contains extremely rich, but intricately puzzling information about the individual ecliptical degrees and the significations of the different sections of the zodiac. An exact and exemplary comparison with the Greek parallels that appear more genuine, but nevertheless poorly shortened and transmitted in different and partly contradictory excerpts, reveals not only hitherto unknown material going back to the different systems hidden in the text, but further demonstrates the strange manner of compilation tending to lead to errors. Thus, the often rejected method ofQuellenforschung is needed here more than elsewhere, starting from the basic insight that the histories of the textual transmission and cultural tradition are essentially connected.

Geographischer und astrologischer Zonenbegriff in der Antike

The five (or seven) zones are treated during Greek‐Roman antiquity in geography and theoretical astrology as well. Although there is no use of them in astrological prognostication, they occur in the ascending scale of the twelve planetary houses. The common planetary order (moon ‐ Mercury ‐Venus ‐ sun ‐ Mars ‐ Jupiter ‐ Saturn) owes its widespread success primarily to its symmetry on both sides of the central sun, but the twofold vertical mesotes‐pattern in the heaven seems to be invented according to the horizontal symmetry of the five geographical zones surrounding the terrestrial equator.

Die vier Elemente in den Vergleichen von Dantes “Paradiso”

Climbing through the nine spheres from earth up to heaven the poet invents several similes that correspond exactly to the natures of the planets governing their realms. Dante adopted the symmetrical system of Macrobius, but enlarging it from seven to nine positions he moved the fiery centre from the sun in the fifth to Mars in the sixth position. Beginning from this fiery centre temperature and dryness diminish on both sides: down to the lowest sphere of the moon as well as up to the highest sphere made of crystal.