The "Hymn to Aphrodite" is not the least remarkable, from a
literary point of view, of the whole collection, exhibiting as it
does in a masterly manner a divine being as the unwilling victim
of an irresistible force. It tells how all creatures, and even
the gods themselves, are subject to the will of Aphrodite, saving
only Artemis, Athena, and Hestia; how Zeus to humble her pride of
power caused her to love a mortal, Anchises; and how the goddess
visited the hero upon Mt. Ida. A comparison of this work with
the Lay of Demodocus ("Odyssey" viii, 266 ff.), which is
superficially similar, will show how far superior is the former
in which the goddess is but a victim to forces stronger than
herself. The lines (247-255) in which Aphrodite tells of her
humiliation and grief are specially noteworthy.

There are only general indications of date. The influence of
Hesiod is clear, and the hymn has almost certainly been used by
the author of the "Hymn to Demeter", so that the date must lie
between these two periods, and the seventh century seems to be
the latest date possible.

The "Hymn to Dionysus" relates how the god was seized by pirates
and how with many manifestations of power he avenged himself on
them by turning them into dolphins. The date is widely disputed,
for while Ludwich believes it to be a work of the fourth or third
century, Allen and Sikes consider a sixth or seventh century date
to be possible. The story is figured in a different form on the
reliefs from the choragic monument of Lysicrates, now in the
British Museum (17).

Very different in character is the "Hymn to Ares", which is