Ὑψικερατα πετραν.
Periander is mentioned as beginning a hymn with a like exordium: Αμφι μοι αυθις ανακτα: And Terpander has nearly the same words: [[776]]Αμφι μοι αυθις ανακθ' ἑκατηβολον. Apollo was so frequently called Αμφι αναξ, that it was in a manner looked upon as a necessary proœemium. Suidas observes, Αμφιανακτιζειν το προοιμιαζειν: And Hesychius, Αμφιανακτα, αρχη νομου Κιθαρωδικου. Much the same is told us in the Scholia upon the passage above from Aristophanes: [[777]]Μιμειται δε (Αριστοφανης) τον Διθυραμβων τα προοιμια· συνεχως γαρ χρωνται ταυτῃ λεξει· διο αμφιανακτας αυτους καλουσι. However, none of these writers inform us why this word was so particularly used; nor tell us what was its purport. In the short hymns ascribed to Homer this term is industriously retained; and the persons who composed them have endeavoured to make sense of it, by adopting it according to the common acceptation.
Αμφι μοι Ερμειαο φιλον γονον εννεπε, Μουσα.
Αμφι Διοσκουρων ἑλικωπιδες εσπετε, Μουσαι.
Αμφι Διωνυσου Σεμελης ερικυδεος ὑιον
[[778]]Μνησομαι.
These hymns were of late date, long after Homer; and were introduced in Ionia, and also in Cyprus and Phenicia, when the Grecians were in possession of those parts. They were used in the room of the antient hymns, which were not understood by the new inhabitants. One of them is confessedly addressed to the Goddess called Venus Ourania, in Cyprus; and was designed to be sung by the priest of that Goddess upon the stated festivals at Salamis.
[[779]] Χαιρε, Θεα, Σαλαμινος εϋκτιμενης μεδεουσα,
Και πασης Κυπρου· δος δ' ἱμεροεσσαν αοιδην,
Αυταρ εγω κεν σειο και αλλης μνησομ' αοιδης.