This paper argues that the Homeric Hymn to Hermes explores competing ways of approaching the world through the figures of Hermes and Apollo. Apollo's reliance on the established world, partially marked by the knowledge of εἰδέναι, is insufficient in understanding Hermes, who aligns himself with the flexible capacity of νόος. Whereas Apollo eliminates his rivals in order to establish himself permanently, Hermes exploits unexplored potentials in order to create space alongside the established gods in the Olympian order. Ultimately, the newly forged friendship of Apollo and Hermes helps us understand the nature of Zeus more fully.
This paper seeks to reevaluate scholarly responses to the laughter in the Homeric Hymn to Hermes . Using Zupančič's recent work on comedy, I argue that Hermes intentionally exploits surplus potentials that emerge from splits in the perceived unity and completeness of Zeus's cosmos. Through surpluses (a tortoise-lyre, a baby cattle rustler, a baby master of legal speech), Hermes is able to attain his place among the Olympians. The laughter of the audience is one final expression of this acceptance of Hermes and his potential.
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