The Hymn to Apollo presents innumerable difficulties, both of text, which
is very corrupt, and as to the whole nature and aim of the composition.
In this version it is divided into two portions, the first dealing with
the birth of Apollo, and the foundation of his shrine in the isle of
Delos; the second concerned with the establishment of his Oracle and fane
at Delphi. The division is made merely to lighten the considerable
strain on the attention of the English reader. I have no pretensions to
decide whether the second portion was by the author of the first, or is
an imitation by another hand, or is contemporary, or a later addition, or
a mere compilation from several sources. The first part seems to find a
natural conclusion, about lines 176-181. The blind singer (who is quoted
here by Thucydides) appears at that point to say farewell to his
cherished Ionian audience. What follows, in our second part, appeals to
hearers interested in the Apollo of Crisa, and of the Delphian temple:
the _Pythian_ Apollo.

According to a highly ingenious, but scarcely persuasive theory of Mr.
Verrall's, this interest is unfriendly. {13} Our second part is no hymn
at all, but a sequel tacked on for political purposes only: and valuable
for these purposes because so tacked on.

From line 207 to the end we have this sequel, the story of Apollo's
dealings as Delphinian, and as Pythian; all this following on detached
fragments of enigmatic character, and containing also (305-355) the
intercalated myth about the birth of Typhaon from Hera's anger. In the
politically inspired sequel there is, according to Mr. Verrall, no living
zeal for the honour of Pytho (Delphi). The threat of the God to his
Cretan ministers,--"Beware of arrogance, or . . . "--must be a prophecy
after the event. Now such an event occurred, early in the sixth century,
when the Crisaeans were supplanted by the people of the town that had